Agile Music (the Midem Speech) For those of you who weren’t able to make it to Midem last week here are the text and main graphics from my Midem Visionary Monday speech. Agile Music: Artist Creativity and Music Formats In the Age of Mass Customization Today I want to talk to you about a concept called Agile Music, a framework for understanding how artist creativity, industry business models and music products must all undergo a programme of radical, transformational change. I’m going to start by outlining the catalysts for this change. This time last year on this very stage I argued that the digital music market was at an impasse, that momentum was seeping out of the space at an alarming rate. The simple fact is that the digital music market should be hitting hockey stick growth curves by now.
This chart also reveals a crucial fact: each time an analogue music format went into decline its successor was already firmly in the ascendency. So we had a year once again defined by declining revenues. So to conclude: Like this: L’industrie musicale se remet à flow. How Spotify Changed Music. We used to listen to music on our mobile devices in private. Now, we share our listening activities to Facebook and show our friends the song we are currently playing. If they want to, they can even tune in and listen with us. Rather than listen to music alone, we now listen together. And of course, we now listen to playlists over albums. Indeed, what once seemed like a utopia to many listeners — having free, ad-supported access to millions of songs on your desktop and paying to take them anywhere you go — has become a new reality.
How have listeners greeted these shifts, and what do they tell us about music culture as a whole? Do these changes represent a lasting evolution of the music experience, or are they simply fleeting trends? 1. Access to everything beats the ownership of some. Connected devices deliver music in an instant and make it go away in a second; there are no cultural artifacts needed to produce music in access culture. 2. 3. 4. 5. 6. The Future. Radio.SC Turns SoundCloud Users into Radio Stations. SoundCloud was originally designed to help musicians send songs (or bits of songs) to each other and their “people” within the industry. Maybe that’s why it still has so many users who seem to be either professionally, semi-professionally, or just obsessively involved with music.
We hear SoundCloud even has a really cool Fletch ringtone among its many treasures, which include early mixes, remixes, exclusives, mashups, and other super fresh material from various excellent people. The site has evolved into much more than the simple song-sharing site it used to be, however. You also use it to listen to music, whether by uploader, genre tag, the Latest chart, the Hot chart, or in any number of ways. Now, with the help of a web app called Radio.SC, SoundCloud can even as a radio service that lets you listen to the taste of any SoundCloud user –assuming they have uploaded songs, favorited tracks, and generally used SoundCloud in more than a fleeting way.
Big Boi Diplo Domino Records Foo Fighters. Combien gagne un artiste avec la distribution digitale (Spotify, iTunes, Deezer) ?... C'est l'Hebdo Musique et Web. Chaque jour, en tant que « musiconaute » averti, il est facile de percevoir l’influence croissante des plateformes de streaming et de la distribution digitale. Deezer, Itunes, Spotify, Bandcamp, Amazon… Tous ces services ont facilité l’accès aux nouveautés, à la culture. Formidable, n’est-ce pas ? Rentrer chez soi et écouter son dernier morceau préféré en deux clics, Chaque jour, en tant que « musiconaute » averti, il est facile de percevoir l’influence croissante des plateformes de streaming et de la distribution digitale.
Deezer, Itunes, Spotify, Bandcamp, Amazon… Tous ces services ont facilité l’accès aux nouveautés, à la culture. Formidable, n’est-ce pas ? Rentrer chez soi et écouter son dernier morceau préféré en deux clics, sans avoir besoin de l’acheter. Savez-vous que la plupart de ces plateformes de streaming rémunèrent les artistes à l’écoute ? Mais qu’en est-il des indépendants ? Sur Spotify, une écoute rapporte en moyenne 0,003€ au groupe. En résumé, ce n’est pas gagné ! Musique - Article - Les ventes de musique poursuivent leur baisse en 2011. Le Marché international de l’édition musicale (Midem) qui s’est tenu à Cannes du 28 au 31 janvier 2012 fut comme chaque année l’occasion pour l’industrie musicale française de publier ses résultats annuels.
Il apparaît ainsi que 2011 constitue la neuvième année de baisse consécutive du chiffre d’affaires de la musique enregistrée. Le bilan économique du Syndicat national de l'édition phonographique (SNEP) fait état d’une diminution du marché de 3,9 % par rapport à 2010, s’établissant ainsi à 617,2 millions d’euros. Alors que le marché français reste dominé par la major Universal Music, ces résultats semblent refléter la crise que connaît l’industrie du disque depuis plusieurs années.
De la même manière qu’au Royaume-Uni, les ventes de CD et de DVD musicaux ont continué de s’effondrer en France en 2011, de l’ordre de 11,5 % sur un an. -- Crédits photo : - Illustration principale: APM Alex - Flickr. - Illustration secondaire (Deezer): Michel Racat - Flickr. BPI figures reveal UK music industry's digital growth in 2011.
The BPI released its latest trade figures for the British music industry yesterday, revealing that total recorded music trade revenues fell 3.4% to £795.4m in 2011, although digital revenues grew by 24.7% to £281.6m – 35.4% of overall sales. The body says that digital growth is now offsetting two thirds of the decline in income from sales of physical recorded music. The BPI also hailed the performance of digital albums in 2011, with £117.8m in trade income, up 43.2% year-on-year, and set to overtake income from digital single tracks in 2012 if current trends continue. “It is highly encouraging for the long-term prospects of the industry that the pace of digital growth continues to accelerate,” says chief executive Geoff Taylor.
The figures reveal that subscription-based digital music services generated £24m of trade income in 2011 – up 47.5% year-on-year, although only accounting for 3% of total sales. Ad-supported services’ revenues fell 1.4% to £10.7m for the year.
Streaming. Etats-Unis: Il est légal de revendre sa musique numérique. A l'époque des vinyls ou des CD, on pouvait en toute légalité revendre un disque pour lequel on n'avait plus d'intérêt. Cette possibilité a disparu avec la musique légalement acquise, qui est attachée de manière irrévocable à l'identité de celui qui l'a acquise, interdisant de fait toute revente.Une jurisprudence aux Etats-Unis pourrait remettre en question ce bel édifice qui ne peut que faire les affaires de majors. Le mois dernier, un site appelé ReDigi s'est lancé dans un nouveau business, le rachat de la musique numérique usagée. Le business du site est simple. Il rachète 0,32$ les fichiers (toutes plateformes confondues) et les revend 0,59$. Il serait d'ailleurs peut-être temps que la justice, toujours plus prompte à pénaliser le téléchargement illégal, s'intéresse aussi à encadrer son pendant légal.
Musique et possession : ce que veulent les fans. Apprendre à connaître vos fans, les engager en offrant de la musique accessible, voici les seules choses dont vous devriez vous préoccuper pour provoquer le passage à l'acte. Depuis mon adolescence, je suis obsédé par ma collection de musique. Je rangeais méticuleusement mes cassettes et CD étiquetés à la main, et j’aimais ça. Puis, quand le même travail s’est imposé avec les mp3, c’est devenu pour moi une énorme corvée. Mais je me suis toujours senti obligé de posséder quelque chose, du coup j’ai continué pendant plusieurs années, à perdre du temps à arranger ma collection de mp3 pour laquelle je n’avais pas payé. Aujourd’hui, je n’ai aucun besoin de posséder chaque morceau de musique, mais est-ce que ne rien posséder est suffisant ? Que désire-t-on ? Pour répondre à cette question, nous devons identifier les trois principaux canaux qui nous font désirer la musique. De la musique facile à atteindre Avant tout, nous cherchons à écouter de la musique en faisant le moins d’effort possible.
Why You Should Give Your Music Away for Free. Digital music caught the record labels off guard and smashed their business to pieces, and from the rubble new economic realities are emerging. In this new reality, most independent artists, especially those who are just starting out, should give their music away for free. Sound crazy? Maybe, but hear me out. It boils down to 3 main concepts. Starting with… The Rise of Spotify and the “All You Can Eat” Music Services Shortly after the introduction of the MP3, legal music subscription services started popping up. Indie Artists don’t sell that much anyway This isn’t my personal theory, it’s a fact. Hear/Like/Buy Why are people unwilling to buy an album from a band they don’t know?
Now you might be asking “But if I give it away for free, what can I sell them when they like it?” This concept is not new in the business world. Jeremy Belcher is the Editor of Think Like a Label, a magazine for musicians & their people. Study: FM Radio Is Still the Biggest Source for Music Discovery. Sunday, November 13, 2011 by paul One of the oldest platforms is still the biggest vehicle for new music discovery, even among more dedicated music fans.
In a just-released joint study from NPD Group and NARM, FM (and AM) radio consistently emerged as the most important place for discovery, with word-of-mouth falling second. You'd think platforms like Pandora and places like Pitchfork would beat out local stations and their repetitive playlists, at least among more dedicated music fans. But here's a look at the ranking for the most dialed-in, 'committed' music fans. Streaming sources like Pandora, VEVO, and YouTube are definitely in the picture, and a continuing expansion into apps and smartphones will help. The story gets even more traditional with another group, an older and more 'comfortable' segment often raised on radio. Turns out radio is still a gigantic bullhorn, but also a fairly dumb one. Comments Closed Comments (46) Launches Music App Directory.
An update on mobile apps and the music industry « Music & Copyright's Blog. Most mobile music services use pay-per-track and subscription-based pricing models, but some operators have started offering music services bundled with their mobile subscriptions. Full tracks are sometimes thrown in as a “free” extra to motivate people to take out a mobile subscription or data plan or to top up their prepaid credit. An example of the latter is Orange’s Monkey prepaid plan in the UK, in which users get free music for topping up as little as £5 (US$7.75).
Statistics published in some European countries have shown sharp declines in mobile full-track music sales over the past year or two. These figures can be misleading, however, because they don’t take into account the proportion of full tracks downloaded or streamed via mobile devices from online services such as iTunes and Spotify, even though these services are the fastest-growing segment of the mobile-full-track market in developed countries. Spotify has 10 million users, of whom about 1 million are paying customers. L’ENJEU DES MÉTADONNÉES MUSICALES La musique n’est pas qu’un fichier son. Publié le lundi 4 avril 2011 Article Autrefois, nombre d’informations utiles apparaissaient dans les livrets des CD qui comportaient souvent des photos, éléments de biographie, paroles de chanson, etc. Paradoxalement, le numérique, qui pourrait permettre d’accéder à encore plus d’informations sur les fichiers musicaux — ce qu’on désigne donc comme métadonnées — a souvent tendance à appauvrir leur mise en contexte.
Métadonnées Une première raison d’être des métadonnées pour la musique est l’identification des œuvres et de tous ceux qui ont contribué à sa création et à sa production. Au-delà de l’émotion, l’information. Certes, la musique n’a pas besoin de métadonnées pour nous émouvoir. L’intérêt n’est pas forcément de livrer les métadonnées avec le fichier musical puisqu’on peut les rendre accessibles via des bases de données. Avant les réseaux De leur côté, les inventeurs du format MP3 n’ont pas pensé à intégrer dans les fichiers d’autres données que la musique elle-même.
Be connected. Facebook et Spotify s'associent pour rendre la musique plus "sociale" Publié le vendredi 23 septembre 2011 Version imprimable Numérique Le fondateur de Facebook Mark Zuckerberg a présenté hier plusieurs innovations du réseau Facebook, qui compte aujourd’hui plus de 800 millions de comptes actifs, dont 500 millions se connectent quotidiennement. le maître mot de ces innovations est certainement "sérendipité" (le fait de faire une découvrir une chose alors qu’on en cherchait une autre).
En effet grâce au système de développement d’applications Open Graph, les utilisateurs pourront découvrir de nouveaux contenus (musique, vidéos…), par affinités et en temps réel. Un nouveau modèle de prescription musicaleIl est désormais possible, via le "ticker" (flux d’actualité continu sur la droite de la page) de savoir ce que ses amis écoutent en temps réel. "Un grand jour pour l’industrie musicale et tous les amateurs de musique".Daniel Ek, président et fondateur de Spotify, est alors invité sur scène. Mark Mulligan: Squaring the Consumption Circle – Why and How the Model Needs Fixing | MIDEMBlog.
June 29, 2011 Cloud music services are not helping enough. Here's how they could, says independent music industry analyst and MIDEMBlog regular Mulligan By Mark Mulligan I started off 2011 by declaring that the digital music market was facing an impasse. It is tempting to think that we’re beginning to get out of that impasse with the launch of cloud services from the big three of Apple, Google and Amazon, and with Pandora’s successful IPO. By and large though, we are still pretty much where we were. The fundamental problems persist: Consumer spending is not growing quickly enough due to a lack of compelling new servicesThe 99 cent download model remains unproven outside of the iTunes ecosystemSmall margins are discouraging investment and new services, driving market consolidationThe economics of free don’t yet add up The problem is that both sides are right: cloud services are not generating enough income for rights holders and profit margins are small at best, often negative. 1. 2.
Listening Room Battles The New Antisocial Music Experience. Update: Listening Room shut down on December 2, 2011. Read more here. Blame it on headphones, computers, or the solo commute, but it’s undeniable that music listening has become a more solitary experience. Technology may have caused this problem — to be fair, as a side effect of other advances — but perhaps it offers the antidote, too. Listening Room lets anyone create, well, a listening room that friends can join, and anyone in the chatroom can add an MP3 to the virtual room’s virtual record player for all to hear. The site launched in raw form about a month ago and has since stabilized, for the most part, although we encountered one skip in a few hours of listening, and the site froze at one point. All you need to know in order to join a room is its name, and if no room exists by the name you enter, a new room with that name gets automatically created — a smart solution that avoids the need for passwords and complicated invitation processes.
Rexly Splices Facebook to iTunes for Word-of-Mouth Music Discovery. Jean-Samuel Beuscart : Généalogies de l’écoute musicale. You Have Options: 6 Interactive Radio Services Reviewed. Slacker Launches On-Demand Music Service. Here We Go Again: The bright new future ahead where we can all share music in the cloud, NOT.. Music streaming subscriptions are the way forward, says Featured Artists Coalition. Big 5 Music Subscriptions Reviewed: Should You Make the Leap?
L’expérience musicale” : un levier de dynamisation pour la musique en ligne ! Finally A 21st Century Music Product, And It's From EMI! Deezer enfin rentable ? » OWNImusic, Réflexion, initiative, pratiques. Musique et possession : ce que veulent les fans » OWNImusic, Réflexion, initiative, pratiques. La playlist, le storytelling de la musique, par Ludovic Jokiel. TuneCore CEO Says Apple Just Monetized Pirated Music, Reset Music Industry. Not Free: Revenue Innovation For The Music Industry. 8tracks Brings ‘Mixtape’ Sharing to iPhone. 8 Best Ways to Share ‘Mix Tapes’ | Epicenter Chaos We Can Stand: Attitudes Toward Technology and Their Impact on the New Digital Ecology. New Online Listening Rooms Reintroduce The Shared Music Experience. Why is Spotify playing hard-ball with its free users? « Music & Copyright's Blog. Spotiwhy? : Are Subscription Music Services a Sustainable Business Model? Spotify’s app platform: That’s it? Spotify Takes A Step Towards Making Music The API.
Spotify, la planète des apps. Musique en ligne : Spotify, pari (à moitié) réussi | Rue89 Culture. Why Spotify can never be profitable: The secret demands of record labels. Comment Spotify peut conquérir le monde en 5 étapes | FrenchWeb.fr. Spotify, Android, Apple TV, And The New Appathy. Last.fm Discover : A découvrir absolument.
Facebook Music’s Biggest Loser: Last.fm. Last.fm Discover Streams Music from Green, Rolling Hills. Facebook Music’s Biggest Loser: Last.fm. Study: FM Radio Is Still the Biggest Source for Music Discovery. Spotify, Android, Apple TV, And The New Appathy. Google Music in a Nutshell. Le marché de la musique en ligne est à peine à l'équilibre. Interview: Distro.fm Could Revolutionize Music with Artist Subscriptions.