The Philadelphia Orchestra & DAM, In Perfect Harmony

The Philadelphia Orchestra is unlike any of censhare’s typical DAM customers. Roberta Gorin-Paracka, Digital Asset Manager and censhare's Josh Van Dyk tell us why.

  1. chevron left iconThe Philadelphia Orchestra & DAM, In Perfect Harmony
Morag Cuddeford-JonesSeptember 29, 2021
  • Digital Asset Management
  • Content Management

When you think of digital media companies, a traditional orchestra with all that entails doesn’t immediately spring to mind. Storage seems more likely to involve a violin case than a cloud drive; platform management something the conductor does to keep the percussionists in time.

But this is exactly how The Philadelphia Orchestra views itself, more so now than ever since the pandemic sent most of its performances virtual over the last 18 months.

At censhare’s flagship ecosphere days digital 2021, Josh Van Dyk found out why The Philadelphia Orchestra is unlike any of censhare’s typical DAM customers, and yet also shares some striking similarities.

In discussion with Roberta Gorin-Paracka, Digital Asset Manager for The Philadelphia Orchestra, Van Dyk discovers:

  • How the ensemble was able to draw on its rich history of recordings and video to satisfy audience demand for its music during the pandemic
  • Made the most of its existing assets and those in development to expand return on investment, particularly given the orchestra’s not-for-profit status
  • Why solving a very siloed approach to asset storage has created a content hub allowing its marketing team to delve into resources in the most effective way to promote its services to its wide-ranging audience groups

Hear directly from The Philadelphia Orchestra as to how it is making the most of its audio and visual resources to bring the institution’s century-plus history to life.

Morag Cuddeford-Jones
Morag has been a marketing journalist and editor for 20 years but is still trying to convince herself that she doesn’t look it. She came to journalism after a brief flirtation with the music and entertainment industry, which ended when she discovered that she nurtured a passionate dislike of any tunes not produced in 1985.

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