Daniel Kohn

Corbett, Baker and Bentley talking shop

The session, which lasted about two-and-a-half hours, featured commentary from across the musical spectrum. Some of the more candid moments came at the beginning of the three-part symposium, when Bentley recalled some highlights (and lowlights) from the band's early years -- teachable moments for anxious onlookers. The band also brought their tour manager, Cathy Mason, and Jason Feinberg, the vice president of digital strategy for Epitaph Records (which is their label).

Here are some of the highlights (both biz and from the band's history) from the free-flowing discussion between the panelists:

High Road Touring

My Bloody Valentine

Between 1991 and 2013, working musicians--like every other set of entrepreneurs--have gained countless new ways to get their music in front of the people who care about it. But they've also found themselves with a lot of new jobs. This is the first My Bloody Valentine album in which Kevin Shields has also had to micromanage a webmaster.

Allstar Weekend need to consult their accountant

Two albums into their record contract, though, Allstar Weekend and the label ran into "creative differences." The latter wanted to continue milking the younger demographic, the former wanted to make more mature music, and they parted ways.

To fund their next work, this summer Allstar Weekend turned to Kickstarter. The trio, now living in Burbank, made a video asking fans for help and compiled a list of rewards for donating.

Apparently people are still buying this

By Chris Kornelis

In the two decades since Nielsen Soundscan started to keep track of U.S. album sales in 1991, the company has seen the industry fold in half, digital sales catch up to physical, and vinyl mount a resurgence. But until last week, they'd never seen old records outsell new ones.

The first six months of the year saw sales of 76.6 million catalog records -- industry-speak for albums released more than 18 months ago -- compared to 73.9 million current albums.

"That's a combination of two things: not having the big blockbuster new releases in the first half, and having very, very strong catalog," says Nielsen analyst David Bakula, who points out that these numbers resulted even though Adele's 21 -- still considered current -- has sold a million more copies in 2012 than it had at this point in 2011.