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How can the music business better serve 'superfans' – and can it really ask them for more money?
Manage episode 386731998 series 89626
Hello and welcome to the latest Music Business Worldwide Podcast, supported by Voly Entertainment.
On this 'cast, MBW founder Tim Ingham is joined by two people who know all about music 'superfans': Alexander Seidl, the CEO of Aviator, and Lindsay Jones, the COO of Aviator.
Aviator, headquartered in Hamburg, Germany, specializes in serving these superfans rare content from the artists they love – often with archive video that has long gone undiscovered and has been gathering dust.
It’s worked with artists including Mark Knopfler, James Taylor, Cliff Richard, Cher, James Brown and Olivia Newton-John.
Aviator also specializes in rights clearance and rights management. You can see how that expertise marries with its archive content business – Aviator finds, say, the long-forgotten content from a French TV performance in 1986, clears the rights, smartens up the audio and video using hi-tech tools, before finally releasing it to... superfans.
This expertise in serving superfans, especially superfans of catalog artists, puts Aviator squarely in the center of one of the defining questions of today’s music business: Is the industry getting enough money from superfans – and is it serving them adequately?
70 episodios
Manage episode 386731998 series 89626
Hello and welcome to the latest Music Business Worldwide Podcast, supported by Voly Entertainment.
On this 'cast, MBW founder Tim Ingham is joined by two people who know all about music 'superfans': Alexander Seidl, the CEO of Aviator, and Lindsay Jones, the COO of Aviator.
Aviator, headquartered in Hamburg, Germany, specializes in serving these superfans rare content from the artists they love – often with archive video that has long gone undiscovered and has been gathering dust.
It’s worked with artists including Mark Knopfler, James Taylor, Cliff Richard, Cher, James Brown and Olivia Newton-John.
Aviator also specializes in rights clearance and rights management. You can see how that expertise marries with its archive content business – Aviator finds, say, the long-forgotten content from a French TV performance in 1986, clears the rights, smartens up the audio and video using hi-tech tools, before finally releasing it to... superfans.
This expertise in serving superfans, especially superfans of catalog artists, puts Aviator squarely in the center of one of the defining questions of today’s music business: Is the industry getting enough money from superfans – and is it serving them adequately?
70 episodios
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