At #MTFBerlin in May 2016, we brought together a diverse group including some of the world’s leading experts in blockchain technology, cryptography, metadata, music business, songwriting rights and royalties - representing artists, online music services, financial tech and other interests. Over the course of five days leading up to the festival, and in response to a lot of industry interest, public discourse and hype, this group examined, experimented and debated in order to explore ways in which blockchain technology could help improve the music industry.
It soon became apparent that before improvements could be attempted, first there must be agreement what would constitute an improvement.
After many long discussions, ranging from the technical to the philosophical, the group arrived at a number of more specific questions that require serious analysis, leading to a fuller and clearer picture of blockchain technology and its limitations, particularly with respect to how it might apply within the ecosystem of music as both a cultural force and an economic commodity.
The result was a whitepaper that maps out both the benefits and drawbacks of how an actual implementation might distribute among industry players and stakeholders - from artists to audiences and all of the many intermediaries.
Here are some of the heroes who have helped us build this ecosystem over the past 4 years:
Jason Singh, Adam John Williams, Matt Black-Coldcut, Eska, Graham Massey, Emika, Nitin Sawhney, Reeps One, Viktoria Modesta, Martyn Ware, Laura Kriefman, Ezra, Grace Savage, Shlomo, Synthestruct, Crewdson, LJ Rich, Jamie Cullum, Scanner, Tim Exile, Mørk, Ross Flight, Leafcutter John
EU Commission, DMIC, British Council, Slovenian Ministry of Culture, Cankarjev Dom, MSUM, Umeå Kommun, Region Västerbotten, Uminova, Ume.net, Guitars Museum, NZ Music Commission, Sounds Aotearoa, Sound and Music, Redstar Union, Factory Berlin
...and an ever growing list of music tech startups with great ideas on how to reinvent this space.
The Music Tech Fest evolved from the ROADMAP FOR THE FUTURE OF MUSIC TECH.
Every network should have a soundtrack.