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LinkedIn for musicians

## **Project Summary**

[Jammcard](https://www.jammcard.com/) is a community for musicians and people related to the music industry (sound engineers, producers, promoters, etc.).
Jammcard is a social platform and marketplace for music professionals to interact, collaborate, and book services in the music industry.
The app connects musicians, producers, engineers, and other professionals, allowing them to create profiles, showcase their talent, and expand their professional opportunities. Jammcard facilitates the booking and collaboration process in the music industry, providing security and convenience for all involved.

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Not long after its creation, the startup was noticed by Forbes magazine, calling it "LinkedIn for musicians," which I agree with

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Indeed, the primary function of the platform is a social network with profiles, contacts, "labor achievements," and stories about oneself.
You can't just get into the community. You must apply, attach your information, and wait for approval to join.
In addition, the community is organized according to the regional principle. It works only in cities where the startup can provide real-life meetings for participants. The startup is now in Los Angeles, New York, Atlanta, Nashville, Philadelphia, France, Denmark and the UK.

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Community members need help to meet. The startup periodically organizes events in these cities called JammJam, where you can listen to musicians and hang out with community members.
By default, access to these events is open only to community members; everyone else is invited to "write and find out how to get there."

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Another big block in the foundation of the community is education, which is packaged in a mentorship format. Community members can have a one-on-one online meeting with other community members who are approved mentors - to get feedback on their work, ask for advice, or share their experience with a particular challenge.

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Depending on the mentor's status, a half-hour online session costs between $50 and $250.

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The startup is now concerned about expanding its list of services for community members. To do so, it asks musicians to share their challenges and difficulties.

The startup was founded back in 2013 and is now actively growing.

Musicians are a big market.

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Not so long ago, Spotify made public the number of "creators" on its platform for the first time - at the end of last year, there were 11 million. Yes, a certain number of them are podcasters, but most are musicians.

Spotify's CEO hopes that "one day that number will grow to 50 million people." So, the potential market is even bigger than they've already managed to reach.

Why do musicians need a professional community? To brag to each other about their successes? Not only that - it's an opportunity to ride the current trend.

Good music is a collective creation. Developing a melody and lyrics is needed to produce a quality result. It would help if you gathered musicians to play it all with a complete set of instruments and the right quality.

In the past, musical groups appeared according to the geographical principle - guys from one school or university course got together. Whoever we managed to gather, we played that way.

Now the situation has changed. The key drivers of change are:
  • The Internet.
  • The growth of computer performance.
  • The availability of music mixing and processing software (GarageBand, for example, is included with standard Mac software).

It's not uncommon for music and lyrics writers to find musicians on the Internet, have each of them play their parts, and then have the leader mix the individual tracks himself or give them to a particular studio for mixing.

Whether these musicians make up a permanent band (of people who have never met each other in person) or the leader gathers different musicians each time to record a new track or a new album, it doesn't matter.
Notably, the development of personal computer technology and the Internet can provide greater freedom and higher quality to any musician who wishes to do so, without having to be tied down to "random" fellow travelers found at their school or on their course.

The principle here is the same as the remote working trend. Companies can now hire the best, not just those who live within transportation distance of their office. People can work for the companies they want to work for, not just those whose offices they can personally commute to every day.


Another critical point is that the principal money musicians earn is not from music releases (tracks, clips, albums), but from concerts. And these concerts can be given anywhere - in another city or even another country.

You can't do with pre-recorded, albeit high-quality, tracks. Concert-goers want to see live musicians and listen to them play live, not enjoy singing "under the plywood".

And what now - for each concert to pay for the transportation of musicians with their instruments? If you take the most popular situation with a non-star and a small concert - with such transportation costs at the concert, you will earn nothing or remain at a loss.

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That's why even stars often hire local musicians to play on their tours, which is what non-stars should do. After all, "renting" a local musician is much cheaper than transporting "your own" musician with all his musical accouterments.

But again the same question arises - how to find quality musicians in the neighborhood where you are going to the concert? And even more - how do you find promoters or club owners who may want to organize your concert in their region?

And here again, we come to the necessity of a particular site where I, sitting at home, could establish contacts with promoters, agree on organizing my concerts, and gather local temporary bands for them.
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