Music 2. Music 3. Click to Download: Musical memories, gig streams, secret performances. Mark Mulligan: Digital music product strategy needs SPARC | MIDEMBlog. January 31, 2011 Further to his much-discussed MidemNet 2011 session, Forrester's Mulligan recaps how the industry can escape from its current impasse By James Martin January 22, I presented my vision to MIDEM of what is wrong with digital music now, why it is wrong and what needs to change. I built upon the foundations of the Digital Natives research Forrester published last week (click here for an overview) and presented on the following key themes: Digital music is at an impasse Digital music is at an impasse.
Current music products do not meet consumer demand and the divergence between emerging consumer behaviour and legitimate music products is widening at an alarming rate. Also all music activity is niche, except for video. The transition generation isn’t the future 12-15 year olds are behaving markedly differently from the 16-24’s. The 12-15 year olds, though, don’t have analog baggage. Experience is the product Music products used to determine consumers’ behaviour.
Music Blogs Caught Up in Labels’ Online Piracy Fight. “At first I thought it was hackers,” Mr. Hofman said. But within hours a notice went up on the site saying that its domain name had been seized by the United States Immigration and Customs Enforcement unit of the ; it was one of dozens of sites shut down, accused of copyright infringement and selling counterfeit goods.
But Mr. Hofman, a brawny Long Islander in his early 30s who formerly worked for a major record label, does not think of himself as a pirate. OnSmash.com and the handful of other music blogs shut down by the government post brand-new songs and videos without licenses, but much of that material is often leaked to them by managers, music labels and even the artists themselves. As a result, these sites have a complex symbiosis with the music business. While the wants to shut them down, the rank and file of the record labels — particularly in hip-hop circles — uses them as marketing tools and publicity outlets. “To Joe Q. Victoria A. “It’s a double-edged sword,” Fabolous said. Edison_Research_American_Youth_Study_Radios_Future.pdf (application/pdf Object) Are the likes of Pandora poised to kill AM/FM radio? Everybody knows that Internet streaming music services have claimed a huge chunk of the radio listening market over the last decade.
But a survey (covering 1,533 respondents from September 8-13, 2010) released by Edison Research spells out the extent of the transition and Pandora online radio's share of it. The report, titled "The American Youth Study 2010," suggests that over the last ten years most young listeners have largely migrated to the 'Net. For example, 20 percent of consumers age 12 to 24 say they listened to Pandora radio over the last month, according to the study. And one in three have tried the service. In comparison, only six percent of the same cohort told Edison that they listened to online streams from AM/FM radio over the last week.
"Pandora has a self-reported 13 percent weekly cume, more than all other Internet and AM/FM streams combined," Edison notes. Digital turnaround This year that ratio more than reversed itself. Any hope for old-school radio? Concert updates. The Apple Effect: Ads That Have Launched Music Careers [VIDEOS] Apple has propelled many bands and artists up the charts simply by featuring their tunes in its commercials. Summed up nicely in the witty words of BuzzFeed writer Taylor Magenheim: "Apple has proven that every time an iPod is created, an indie band gets their wings. " With an interest in the "Apple effect" on a song, we took a look at five great examples of artists being carefully chosen from (relative) obscurity by Apple's ad pros. Which one made the biggest impression on you? Share your thoughts in the comments! 1. Brash Aussie rockers Jet were one of the first acts to benefit from Apple ad inclusion, with their track "Are You Gonna Be My Girl?
" On the back of the exposure, the band sold 3.5 million copies of their album Get Born, an astounding amount for a little-known band from Down Under, and the song has since been used in movies, TV shows and even computer games, including the Rock Band and Guitar Hero franchises. 2. "1234" by Feist - iPod Nano, 2007 3. 4. 5. How Much Do Music Artists Earn Online?
Op-Ed Contributor - Free viral videos. Alain Brunet : Via P2P, les Québécois téléchargent québécois | Musique. Les contenus musicaux d'artistes québécois y constituent 21% des produits musicaux disponibles sur ce site P2P administré par des Québécois - et dont ses observateurs ne peuvent dévoiler l'identité. Essentiellement francophones, ces contenus québécois représentent 51% des téléchargements de contenus musicaux effectués par des usagers québécois. Établi au printemps 2009, ce pourcentage est supérieur à la part de marché des CD québécois vendus au Québec en 2008, c'est-à-dire 43%. «Ce qu'on constate, c'est que les Québécois téléchargent en P2P beaucoup plus qu'on ne le croyait.
Il y a donc beaucoup d'intérêt pour le produit québécois sur l'Internet. «Autre fait marquant, fait observer le jeune chercheur, 42% des 200 contenus les plus téléchargés sur ce site P2P ont été assemblés par des usagers. L'étude nous apprend en outre que l'usager québécois type est de sexe masculin, qu'il est âgé de 20 à 39 ans. KKBOX: A Freemium Music Model That’s Actually Profitable – GigaOM. While the music industry watches Spotify’s endeavor to make money on streaming music via the freemium model in Europe, one company has figured out how to turn a profit by converting free listeners to paying subscribers in Asia. Taipei-based KKBOX, which currently provides a catalog of songs from all four major labels plus Chinese-language music, has signed up 200,000 paying users in Taiwan and Hong Kong for its desktop and mobile streaming music service — and is now setting its sights on the U.S.
To be clear, KKBOX won’t compete directly with Spotify in the American market (whenever Spotify manages to reach the U.S.). According to co-founder and Stanford grad Chris Lin, the service currently sports a fairly limited catalog of Western music, with the majority of user searches in Asia targeting songs published by Chinese independent labels. Although 30 percent of Taiwanese Internet users have signed up for KKBOX, the company still has a fairly low conversion rate of free to paid users.
Téléchargement illégal : l'industrie du disque veut plus d'efforts | Disques. Les ventes de musique sont passées de 22,4 milliards de dollars en 2004 à 15,8 milliards de dollars en 2009, selon les chiffres de l'IFPI. 2009 aura ainsi été la dixième année consécutive à la baisse, alors que le téléchargement illégal continue à se développer. Les ventes légales de musique numérique représentent désormais 27 % des ventes globales, et sont en hausse de 12 % en 2009 à 4,2 milliards de dollars, souligne le rapport.
Mais «malgré ce succès, l'augmentation des ventes numériques de l'industrie musicale ne compense pas le fort déclin des ventes physique de musique», avertit le lobby. «Pour continuer à investir dans de nouveaux artistes, nous devons combattre les téléchargements illégaux de masse», a souligné le président de l'IFPI John Kennedy. L'IFPI a salué le vote de lois qui prévoient une «réponse graduée» aux téléchargements illégaux, comme en France, en Corée du Sud et à Taïwan. FreeAllMusic inks 2nd major in free, DRM-less music venture. EMI has become the second music label to sign onto ad-supported music startup FreeAllMusic.com, after Universal Music Group signed on last week. The site, which takes ad-supported music in a different direction than most, has not yet launched, but could have a strong launch if it has major artists from EMI and UMG on board.
FreeAllMusic doesn't restrict music to the browser (or an otherwise Internet-connected client) like streaming services such as Last.fm or Pandora. Instead, it plans to let users download DRM-free MP3s of songs—legit, legal versions of the songs—that are paid by advertisers. The catch is that users must watch a commercial for each download, and downloads will be restricted to 20 per month (with a cap of five per week, starting every Tuesday). UMG announced last week that it had signed a licensing agreement with FreeAllMusic, and now EMI is on board too. FreeAllMusic seems to be approaching this in a more attractive manner, though, for both users and advertisers.
Digital music prices: are they illegally fixed? A federal lawsuit alleging collusion among the major music labels over digital download pricing can proceed, a three judge Appeals Court panel ruled today. As lawsuits go, this one's a humdinger, charging that the labels engaged in a price-fixing conspiracy to ensure that they each made about 70 cents per track sold online, and that no one received a better deal than anyone else. The case had earlier been tossed for a "failure to state a claim," but the Second Circuit Court of Appeals has reinstated it and ordered the trial judge to proceed with the case.
Most Favored Nations The case in question, Starr V. Those early services were at first the only way that the labels would allow their music to be sold over the Internet, and the control exercised was extreme: they were actually label-controlled ventures, neither store had a complete selection of music, and the DRM was flat-out ridiculous. Truly execrable stuff, but the complaint argues that the DRM wasn't the worst of it. Overall music purchases up - Entertainment News, Music News. The music biz may be undergoing drastic shifts, but music still sells. Though sales of physical albums continued to wither in 2009, the number of overall music purchases rose 2.1% last year, according to year-end figures from Nielsen SoundScan.
Between Jan. 5, 2009, and Jan. 3, 2010, total album sales (encompassing CDs, cassettes, LPs and digital albums) plummeted 12.7%, with almost 374 million units sold (down from 428.4 million in 2008). Overall album sales (including all albums and “track equivalent” digital albums) fell 8.5%, with nearly 490 million units sold vs. 535.4 million the previous year.
Internet sales of physical albums plunged 8% during the same period. Nonetheless, the digital realm, which accounted for 40% of total U.S. music purchases, experienced a continuing upswing: Digital album sales gained 16.1%, while digital track sales climbed 8.3%. A staggering 1.1 billion digital tracks were sold last year. The Black Eyed Peas’ tireless “The E.N.D.” Strange Famous Forum :: View topic - A message from DJ Shadow on the state of the industry. I'd like to tip my hat to DJ Shadow for taking the time to put a lot of things I've been thinking about lately into actual words. I agree with almost everything he has to say in the message below. I've been holding off on making a statement of my own, but until that happens I'd like to co-sign 90% of what he has to say here: Posted by DJ Shadow on his website.
Jan 4, 2010 Well, here we are again, another year, another decade. Specifically, when it comes to the wallet, everyone’s suffering…of that there can be no doubt. Time for a little straight talk, from one reasonably intelligent human being to YOU, the reasonably intelligent reader. Let me be clear: I love music. Gone are the recording studios (including the historically important Plant down the road from me in Sausalito), the record shops, and the music magazines.
Every artist is entitled to their own price point, just as every consumer has a choice in what they purchase. I realize these are all unpopular subjects. Until then… The Changing Music Business: The Chart | GOOD. Illegal downloaders 'spend the most on music', says poll - Crime, UK. The findings suggest that plans by the Secretary of State for Business, Peter Mandelson, to crack down on illegal downloaders by threatening to cut their internet connections with a "three strikes and you're out" rule could harm the music industry by punishing its core customers.
An estimated seven million UK users download files illegally every year. The record industry's trade association, the British Phonographic Industry (BPI), believes this copyright infringement will cost the industry £200m this year. The poll, which surveyed 1,000 16- to 50-year-olds with internet access, found that one in 10 people admit to downloading music illegally.
"The latest approach from the Government will not help prop up an ailing music industry. However, music industry figures insist the figures offer a skewed picture. "The people who file-share are the ones who are interested in music," said Mark Mulligan of Forrester Research. How to discover new and interesting music online - Ars Technica. Everyone has faced this conundrum at one point or another: you're sick and tired of the music in your library, but you can't stand commercial radio. As a result, you haven't been exposed to new music in quite a while. How do you find new things to listen to that you won't hate? Or, even better, music that you might actually like? Aside from the brute force approach—just listen to everything! The obvious Most Internet users are already aware of Pandora, a streaming music service based on the Music Genome Project. From there, Pandora allows you to create specific "stations" based on certain artists or genres of music, and then chooses other music that seems to fit the same patterns (not just music that falls into the same genre or from the same artist).
The benefit to Pandora is that it's not only available on the Web; there are also native apps available for the iPhone, Windows Mobile, and BlackBerry so you can listen to your custom-created channels while away from the computer. Last.fm. Universal/TuneCore deal opens major doors for indie artists - Ars Technica. Independent musicians who want to retain the rights to their own songs will now have the opportunity to do so while marketing their offerings through a major label—Universal Music Group. UMG announced a partnership today with TuneCore, a company that represents independent artists and allows them to sell their music directly to fans through major online stores.
The deal will let artists essentially have their cake and eat it too by letting them call all the shots while having access to major opportunities. According to the agreement, TuneCore will provide distribution portals for UMG's labels, while UMG will provide "marketing and upstreaming opportunities within the UMG Distribution system. " This includes a number of artist services, including licensing opportunities within Universal and professional audio mastering, as well as other "artist discovery" services. What does this mean, exactly? What's in it for the UMG labels?