After giving space to the major multinationals and an open letter of the Association of Independent Music Producers, have got to have a chat with another key figure in the music business and more generally of music in Italy Giordano Sangiorgi , owner and coordinator of the MEI, the Meeting of Independent and Chairman of AudioCoop, trade association that collects record companies, publishers, producers and artists Italian independent. AudioCoop was actually born within the MEI and became bearer of many battles for the promotion of the independent world, and has become even collecting societies related rights for its members. The MEI Faenza is from 1997, the main event in Italy dedicated to the world of independent Italian music production and its development, an appointment that you have bands and that is an opportunity to meet, exchange and promotion, for a market that, as we have seen in this series of interviews, it is rapidly changing under the pressure of new models driven by technological innovation.
Just this past week, FIMI has announced very positive data for the Italian record for the first 6 months of 2015, and the first thing they ask is if Sangiorgi also from the point of view of independent things start turn in the right .
“in the face of data that give the growth in turnover, but we do not see growth in revenues not only the artists, but of all those working with artists “
G. Sangiorgi: “We say that the change of the music market, which is no longer measured only in terms of sales but also satisfaction of the whole chain creative, and then how then all this turnover is divided, has changed a bit ‘ the perception of these data. If these numbers are certainly very interesting for the sector, we should assist them to that which receives the entire chain of creative content, indicate what comes of that revenue to the artists, how much is invested in young people and the future of the music of our country and how resources are used. This applies to the whole system, the rights of society, associations, from large companies to smaller record companies: no longer have to be pockets parasitic living annuity and super paid with respect to the actual work they do at the expense of their own creative chain. As is known then, especially in the digital and in particular the stream, there is in place a strong battle of the artists to get from major online distribution platforms, now monopolist, meaning they can be counted on the fingers of one hand, greater compensation directly by clicking and related rights. Are two battles going on, by the way, also made by great artists, that short .. in front of data that contribute to the revenue growth, but we do not see growth in revenues not only the artists, but of all those who work with the artists. So the texts, music … “
DDay.it: according to what they said the presidents of the majors did not they would be complaining about so many. What is the perception of the world “independent” on this issue?
GS: “In terms of market share is no doubt that the total of the Independent Digital have higher altitudes, there is talk of quotas by 35%, the physical we are around 20-25%. The problem is that the Beyond these shares, the change in the market means that then the whole chain of content is mashed with low percentage compared with sales in the billions of platforms such as YouTube, iTunes, Spotify, Deezer and so, this is clearly a global problem. ”
DDay.it: But Spotify, for example, says that 70% of what the cash flows to the record companies …
GS: “Spotify is actually the one that is best artists, it is almost never implicated in the events that artists start with these platforms. Last year there was a big battle of independent labels against YouTube for a deal very unfortunate that enjoined the cancellation, against which we fought ourselves, as well as more recently against Apple for the speech of the three free months that they would not be paid to the independent, nullifying the work of years on a Catalogue important without being renumerati. Let’s say that this is the central theme for those who work on the made in Italy, be it in the majors or in the traditional independent.
“The CD will become more and more like a business card”
I think it is necessary for everyone to make a leap in quality, have greater maturity, make a common front for the protection of the made in Italy and the Italian chain of music content instead of maybe going in no particular order and try to get more individual attention. This is not possible, especially since so then the growth is in digital, rather than in one of the niches such as vinyl or CD, which will become more and more like a business card; It is only a common front made in Italy, with the supply chain consists of all the associations, operators, but also the collecting societies, who will face these platforms multinationals and ask for more for our work. “
DDay.it: In this sense, the majors are already working on a multinational level when it comes to distribution of content on new digital platforms, with contracts that then also apply locally. As for labels and independent producers or at least the smaller firms which currently is the approach?
GS: “ There are aggregators, in which our associate, and that they are different, both nationally and internationally. Among the Italians, we can mention” made in etaly “,” Pirames “,” oxygen “, and then deliver the catalogs on the different platforms. We say that here would be a challenge, and we have always proposed and in our view it would be one of the most visited online platforms in the world, that of create a platform online music Italian . Do not forget that traditionally our music is known all over the world. We we proposed to implement a virtuous cycle public private, to make a platform called “Flying”, with all songs digitized discography State , which has digitized up to 70 years, and with great international success, and with a private management to enter into this platform all the news of the Italian musical world. A job like that would bring this platform to be one of the most visited in the world, because our historical songs are searched every corner of the planet, and the strong emigration that we had, that the passion and abroad have for our traditional music, and maybe would be picked on the home page along with success stories such as the last Afterhours to say. It would therefore have been promoting the Made in Italy and Italian music abroad. “
DDay.it: Is there someone or something that is opposed to a speech like this?
GS: “More than anything else is a proposal that does not find someone to accept. We believe it is a road that could be financed with the funds raised through the fair compensation, which will be more this year introitate thanks to the agreement signed by the Minister Franceschini, a share could be destined for a project of this kind. It could be the way to bring our music to be a leader in the world of digital. “
DDay.it: when speaking in front of the municipality, I suppose he means major and independent world together. If we followed this path so far in the Italian record, it would not seem to be much harmony …
“If it were not for the crowfunding most likely would not have had many independent productions of the Italian scene”
GS: “ I think it is not useful to quarrel among ourselves about these events , it is much more important to form a common front among all those who work for the Made in Italy. Also, there are just labels. In recent years there have been large investments also via crowdfunding platforms , were collected a few million Euros that have helped promote, at least according to the our survey we did with the various platforms, some 300 projects of independent record; clearly not talking about the traditional one, but the new one the last 10 years that has found a way to bypass all the traditional channels, thus reaping millions of euro. If it were not for the crowfunding we would not have most likely many independent productions of the Italian scene. The most resounding names linked to our area that have self-financed in this way are such as CSI, Gianni Maroccolo, the Gang who had a resounding boom, Cisco, Pier Paolo Capovilla and many others who have had a good response. It is a model that in some way it will evolve, it will change, but it certainly is a model of great new independent label that bypasses all the classical procedures and you mentioned also in your other interviews. “
DDay.it: but when it comes to independent, we see some artists reach a certain level of fame and success, but remain such. It is because they are the majors that are not interested in this type of project, or are the musicians of today who prefer to move in an area like this?
GS: “ First of all, we have always rooted for a virtuous relationship between independent and major label, as was mentioned in your interview by Sony Andrea Rosi, where they emphasize some labels, some independent artists, and the majors put available their facilities. That’s a virtuous relationship and that there continues to be. But let’s say at this stage that we are entering a little jump ‘these definitions.
“On the Web today, the artists are much more present and even experts often the traditional record”
In contrast to the past, which were at the center of a project the ideational thrust of marketing, promotion and so on the label, with diminishing resources from both sides technological developments that will take on the market with very little, now at the center we find the artist, who often has a clear idea of what he wants to do . And at this point what it needs? No more than a label, it’s independent or major, but a new model of record, in which maybe you can bring a more independent, which is a sort of agency to 360 degrees, and that then allows them to find those skills to help him in a project but he has in mind. By now the work is all directed on social and on the web where artists are more and more present even experts often the traditional record and surpassed their model business. “
DDay.it: but then how do you earn?
GS: “In the evolution of the market, which today brings streaming to become the most economically important of the download and the physical, we advise our independent artists do not put all things 100% online, because you risk devaluing the product, to be born and die production as important an album within 24 hours . For example We want to put the disk online, to promote the concert and then to give the ability to have the entire album as a gadget to buy as a souvenir of a nice evening in the form of a CD or a flash or whatever. But I think today the leap is this, ask yourself in online market with professionalism that you follow step by step also, a fundamental aspect, in receipt complete and up your rights, because with the collapse of the physical music market and the exponential spread of free music, has become essential to perceive the whole chain of the music content related rights , which until about ten years ago it was very marginal. “
DDay.it: which brings us to what then is the main issue today is still possible to live for music alone?
“Today there is a row for an iPhone and not for a new musical project”
GS: “Today it is much more difficult than before, it also says a recent survey on the Italian rapper, who revealed their real work everyday. There are several elements to be consider. In the first place, the economic crisis of recent years that certainly does not help this sector, because the first cuts that everyone is on the course are “superfluous”. Technological innovation has led then the digital natives who are now 15/20 years to consume all the way that maybe our generation consumed in a year – that is, listening to radio in a preview of the disc, the expectation of the disc, go to buy it, to listen, to wait for the tour go to the concert – to reduce it to 4 minutes, going to watch a video of one of their favorite band live on YouTube. Then there is a third element which is the changing tastes: today maybe the music in the lives of young people is less Central than in previous generations. Today maybe you line up for the iPhone, while you do not line up to the last musical project of an artist. It is a bit ‘as if 30 years ago had made the line for the last Hi-Fi instead of the disc artist. The music today has become almost a gadget to accompany the object, and as such risks being penalized economically, even if it is the content that drive the hardware. But then it also changed the same entertainment. When the stars were the band, the singers, today, just to mention the latest fashion, we have cooks that replace the musicians , comedians, and so on. So there are fewer resources for music in general, we think that in ten years it has lost 90% of the resources from the physical market, so it’s definitely more difficult to live music. We have to clear the resources that we have and invest them in the young. I quote a commitment we have made with all the culture minister Franceschini, the signing of the decree on fair compensation: last year they got about 80 million euro fair compensation for private copying, this year It comes to about 150 million euro in more and we think that 25% will be reinvested in young people , and then enable young people to enter the music market with a greater commitment by supporting the festival dedicated to emerging, claiming as did the SIAE with free entry to the ability to implement the rights for young writers and young editors. Relief on fees for the concerts for emerging artists, as the deduction percentage of the proceeds that are promoting their music … “
DDay.it: But fair compensation, with the shift to the model of the stream, we can also say that it is obsolete in this formulation …
GS: “Absolutely not. In fact it is most essential. Just because music is scattered even more free to be recognized by the hardware distributors share of the value at which they sell the product.”
“On these devices the mobile music has enormous value and should be recognized”
DDay.it but redrafted the principle of fair compensation, because now is a compensation for private copying, but with streaming you do not copy anything at all …
GS: “I say, the iPhone 6 Plus can be up to a thousand euro. Imagine an iPhone, a smartphone or a tablet without music, its price would be halved immediately. If I sold saying not that you can use it to listen to music or watch music videos, perhaps not many would buy more . On these devices the mobile music has enormous value and should be recognized. We take into account that the entire supply chain that produces content audio video from the smartphone sees only 4 euro. In Italy every week are published approximately one hundred individuals, including major, independent and self-produced, it is clear that it is because of all this work that the dominant platforms fail to make those sales and revenue, and to This should be divided better these resources with the artists. “
The new logo of the Meeting of Independent Labels in Faenza to be held from 1 to 4 October 2015.
DDay: first cited the time of the concert as part of the whole musical project. As ever in Italy they do not manage to have the festival at the level of the great European events?
GS: “There are many reasons, including cultural. The first is that our musical tradition is by no kind Woodstock festival, but more competitive style to Sanremo to speak. While there have been attempts in the past, I think what was lacking was the support system of the country that they would raise events to be financed with public funds, as has been done for example in France, but do not forget that it is also the lack of media coverage, for example by public service such as RAI : we think in the last 20 years how many millions of young Italians were in independent music festival in Italy, but if we were to look in the archives of public service, we would find only the May Day concert. And maybe instead we would find hours and hours of footage onto a winner of Talpa. Unfortunately our country in the development of this culture is a step back. There are actually many festivals in Italy, also important, but local and each with its own specificities , whether it be regional, or linked to a type of music. A network of these festivals could be a great platform to promote our country in terms of music and also attract more audience. Us about that as Network Festival we made a proposal to the SIAE to support this network Festival and Contest for Emerging through a fund proceeds of the fair compensation and the SIAE is committed to do so in 2016. There are also 90 million from from old IMAIE about to be redistributed to the artists, if they are well distributed may encourage young people “.
DDay: this year the MEI, held October 1 to 4 October, was launched with the hashtag # nuovoMEI2015. What has changed?
GS: “The last year we closed the cycle of 20 years and so this year created the new MEI, where we wanted to make a complete generational change and enter a new phase, with a new team coming from all over Italy to under 30 . The idea is to make a MEI dedicated to those who by birth is the same age, so young people emerging from 25-30 years, perhaps now even more of Yesterday longer need a reference point, an MEI where great attention will be dedicated to topics such as the web, social networks, rights, new platforms and training . Here, training for us is very important and as MEI in recent years we have become a good reference point. In recent years we have tried to create for the young artists participating in the MEI a great platform of training services, which in some way of informing all the news on the rights, self-production, promotion, innovation promoted by new digital platforms. Once the artist could afford to be discovered the song in the drawer and not to think of anything else, but today the artist along with those who follow him must be an entrepreneur himself , continuously updated on all the news is of a legislative-related law that distributional, social, and so on. “
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