Beardo Asks The Questions
7 November 2005
One CommentBeardo’s got a lengthy post up about his contact with Alligator Records:
Bandana Blues, a Podcast, a Festival, ......... .... a Way of Life….The solution is a complex issue that seems to need a mediator to digest and suggest solutions. Here is your chance people. What would be fair compensation to the artist, the author, the publisher and the record company? How would you determine the scale or % for each and what revenue do you base it?
Do you podcast in a reduced bitrate to lessen the quality thereby discouraging a napster-like situation, which is much more difficult as the podcast is a single file that would already discourage most would-be pirates, not a peer to peer file sharing environment. Add to that a monaural broadcast perhaps?
I’ve shared some thoughts on my use of Alligator artists in the comments.
Inherent in my use of Alligator artists is that I provide a means for listeners to purchase the music (several, in fact, including iTunes and Amazon). And, in the natural course of the show, I’m encouraging listeners to support these great artists by purchasing the music. It’s another avenue of sales that might not have been reached by Alligator – or Black and Tan, or Tone-Cool, or TopCat, or any of the other labels I’m featuring in the show. I take a tiny cut ($.05 per single from iTunes, for example), but provide a conduit for additional revenue for the labels.
Share your thoughts in the comments here or on Beardo’s site.
Are you willing to purchase music you’ve heard on any of the blues podcasts?
Do you have the technical expertise to rip the music directly from the ‘cast?
Does it elevate your view of a music label when they’ve provided permissions for a podcaster to use the music of their artists in a show?
Are the blues podcasts, in particular, effectively providing an introduction to music you might not have heard in any other medium?
Does your local terrestrial radio market include stations willing to play blues music?
These are important questions that certainly will have an impact on the future of label permissions for podcasts.
Are you willing to purchase music you√ǨѢve heard on any of the blues podcasts? I already have and will continue.
Do you have the technical expertise to rip the music directly from the √Ǩcast? Yes, but I wouldn’t do it for the simple fact that I like the radio style layout Tony puts into it.
Does it elevate your view of a music label when they√ǨѢve provided permissions for a podcaster to use the music of their artists in a show? I listen to the Roadhouse because of great music and a knowledgeable host not because of who the label is.
Are the blues podcasts, in particular, effectively providing an introduction to music you might not have heard in any other medium? Absolutly, it’s a great outlet for bands such as Edwin Holt that is primarly a Texas based band to be heard by someone in the Northwest.
Does your local terrestrial radio market include stations willing to play blues music? No, that’s why I seek out other venues that play my type of music.
Tony, keep up the good fight from your $200 laundry room studio.