For a band to walk out with a HD 5 camera master in 5.1 dolby audio is amazing.

Ive been in bands, i run a label, and a real live venue. I truly think this is the future. From start to finsh the broadcasts are top notch movie quality.

the video clips dont do the sound justice, a live show on DRD cant be matched by CD, even on my crappy 30$ speakers

to DeepRockDrive: please send an e-mail to NowHound. the site is a LiveCast Search Engine…currently close but Beta shortly…

you could have searched and found a dozen live concerts around the world…starting at lunchtime in NYC for shows in Amsterdam..

a great way to get your shows publicity and viewers…..

and keep pushing the music industry in the right direction

As an American, I might go catch a Pearl Jam show on DRD sometime. Still, I’d much, MUCH rather pay 50 bucks for the real thing (when the real thing is available to me..) than $6.99 to sit at my computer for a “badass concert experience”

@scottwitter:

http://twitter....m/DeepRockDrive

Jeff (http://www.deep...om/member/dingo)
CTO, DeepRockDrive

Hi, Aaron. I’m the CTO and co-founder of DeepRockDrive. I was intrigued when I read your thoughts on the viability of the idea behind DeepRockDrive, particularly about people’s reluctance to be online at a particular time. You’re spot-on about broadcast content not being enough of a draw to collect masses of people at a particular time! You mentioned later in your comment that you can easily get your concert fix on YouTube. That’s the case for any straight video event, where “watching” is all you do. There’s no reason to tune in at a particular time, much less PAY for the pleasure, if you can get exactly the same experience later on, at a time of your choosing, for free. There is so much recorded/broadcast content out there on the ‘net at no cost that one can passively watch for free at any time and still be relatively satisfied.

Broadcasting isn’t what DeepRockDrive is all about. Where we’re putting all of our creative energy is into creating interactive experiences. The reason to buy a ticket and to tune into a DeepRockDrive concert at a particular time is that you’ll get an experience with the artist and with the other fans that goes way beyond just watching. One of our ultimate measures of success is getting people sitting up, leaning forward, hands on the keyboard and mouse as they really interact with the artist and with the show itself. Switching camera angles in real-time, shouting out to the artists, and throwing animated applause onto bigscreens in the studio are proving incredibly popular during the shows, and since it’s all software and internet services, the sky is the limit of where we can take the interactivity.

In a previous life, I worked on Xbox Live. One doesn’t think about “watching Xbox Live” so much as they think about getting online and playing with or against friends in their favorite games. The passion around that interactivity leads people to say, “Hey, I’ll meetcha on Xbox Live at 9:00 after I finish my homework.” People schedule events, because they will have other people there with them to interact with. That’s the feeling that we want to bring to live interactive concerts at DeepRockDrive. People won’t tune in to watch; they’ll tune in to interact.

We definitely ARE working hard to make the broadcast technology the very best you’ll find on the web. For live events, I think we’re really leading in terms of quality. There are some example clips up at http://www.deep....com/highlights that you can check out (for free…anytime you feel like it . But to get a feel for DeepRockDrive’s real focus – the interactivity – there’s nothing like a live show. We’re going to be doing free live shows every Friday in order to give everyone the chance to check it out and decide for themselves if it’s worth tuning in at a specific time for.

Thanks again for the thoughts.

Jeff (http://www.deep...om/member/dingo)
CTO, DeepRockDrive

TechCrunchより\r\n\r\n\r\nなんか、音楽関連のネタをこの前書いたんで、新しい音楽の可能性の一つとしてこんなスタートアップを見付けました。\r\n一言で言うと、コンサートのリアル…

Well, no, that’s not true. It also depends on whether it’s a viable idea or not.

If the problem with iMusicast was just that it was the wrong time (possible given the state of broadband by the time iMusicast shut its doors nearly two and a half years ago) then this shouldn’t have a problem. But I think there’s more to it than that – the most people viewing a live stream at a given time at iCast peaked somewhere around ten even for the biggest shows.

There’s something about the internet that has never inspired people to get online at a specific time for an event. Maybe you can cram 100 die-hard fans in if you promise them that the band will read their messages and respond, but aside from that the internet is about getting content at your leisure and probably for free. I can already find concert videos that scratch my concert video itch on youtube, and I don’t really care that the video and audio quality is poor because, with a few exceptions, live concert videos aren’t shot or mixed well anyway. The example in the above post is no different – the mix is fairly dry, lacking in any kind of character or sense of space, and the video is uninteresting, boringly lit, unimaginatively edited, and with a band trying to feign enthusiasm to an imaginary audience.

Why would I spend so much time on this topic? Because I spent nearly four years going to a venue that did the exact same thing. The venue became a popular hangout spot for lots of local teens, a great consistent all-ages venue… and then went out of business.

That said, if this works and the company is making millions in six months, you can print out this post and feed it to me on stage at the next TC40 event. With garlic.

It seems like a great way to convert fan interest into artist $ with minimal frictional cost. The wave of the future, I tell yas!

( eyeroll)

That’s what a group of AT&T execs said about 20 years ago about cell phones.

Looks like their venture capital backers got in for a small sum. A company to watch.

Soon the company also plans to offer an on-demand option for archived videos, at a lower price than the live shows. I am not sure how many people will pay for those—seems like they could make more money with an advertising model on the archived stuff.

@Aaron, yeah, we’ll see. It all depends on the bands they get, and the production quality.

Well, guess what? iMusicast used a VERY similar idea, though their shows were broadcast for free and they had about 1/10th the budget. Still, even with relatively popular bands – Reel Big Fish, Zebrahead, the Matches, Plain White T’s (pre-”Hey Delilah”), Melee, Suburban Legends, Sugarcult, and more – they couldn’t break even through ticket sales and nearly nobody watched online. Then again, their production and post production weren’t great; the video edit was always what had been cut live during the broadcast, and the audio for streaming was mixed without being totally isolated from the live room.

Perhaps iMusicast failed because they were trying a bottom-up strategy. Or perhaps they didn’t have high enough production quality. Or perhaps it’s just a bad idea that will suck up money and waste a lot of musicians’ time for the next twenty years. Who knows?

I went to probably 25 shows there, and played there three or four times in two different bands.

This is in Oakland, CA for those of you unfamiliar.

This is a very powerful statement that should be inspiring to any aspiring artist:
“The future of the music business will be hundreds of thousands of artists that have fan bases of between 5,000 to 100,000, not 50 artists that have one million or more.”

Everyone knows that the most money is made is from concerts & performances.
I know that my friend would be extremely happy to be able to pay his rent with his music. This and the growing access to affordable tools to produce and record your own music without a huge studio will help artists with real talent stickout from those who simply have a PR machine behind them.