Indie Label Says No To Apple's iCloud: "Copyrights Trampled", "An Insult" The app industry vs. the music industry. By my estimate, Apple has paid out $16.6 billion to content owners. $2.5 billion to app developers and about $14 billion to music companies. The developer payments are published by Apple, the music payments are estimated based on total downloads and guesses about the split and pricing of that content (90% for the content and $1 to $1.2 average pricing over time.) There might be reason to move the music figure up or down but the difference will still be nearly a factor of 5.
The cumulative payments are shown in the following chart: From this perspective, the music business is still a far bigger ecosystem than apps. However that’s cumulative data and digital music has been around far longer. The story can be told a different way: What’s the rate of sale in the present period? The combined “sales rate” is a remarkable $665 million per month, but the split now is that music generates only twice the income of apps (i.e. cumulative is a factor of 5 but on a monthly basis the factor is 2). On Innovation, Flying Deloreans & Explosions In The Desert. Innovators are a strange breed. What makes them move ahead against all odds? Especially hopping over the road blocks and avoiding the potholes placed there by zealous department heads who are managing according to company policy and frameworks, plans, etc.
The very fact that a plan is notated and written places it firmly lying down in the past, while the innovators are working in the present, edging toward the unknown of a future. Malcolm Gladwell’s latest New Yorker article, “Creation Myth - Xerox PARC, Apple, and the truth about innovation” is a must read for all those in a business that fosters creativity for both fun and profit.
Nothing. But in order to make the computers they were creating work more efficiently and spit out cool documents with snappy and cooler pictures, photos, fonts, graphs, and all the other geegaws they had had their Xerox word processing programs finagle into the files, someone at Xerox PARC had to create a printer; the laser printer, in fact.
6 Essential Skills for Starting a Business | Inc.com. Strategic Conversation with Ian Hogarth, CEO of Songkick. Dave Fortune, TMV’s live industry expert caught up with Ian Hogarth CEO of personalised concert alerts service Songkick to discuss the evolution of the music business marketplace… 1. Artists and investors might define Songkick as a ticket broker, data provider, content aggregator, or social network. How would you define the company? Wow, that’s a wide range of descriptions! I hope it’s not that ambiguous! 2. It’s been really exciting – our monthly unique visitors grew over 1000% over that year and it seems like more and more fans are relying on Songkick to keep track of live music. 3.
With most artists making 90% of their income through touring, concert data is critical and the processes for managing that data at present are often manual, involving multiple stakeholders. 4. I think it depends on how long a view you take on things. 5. I think it will take a major technology shift for that to happen. 6. We work on a % of the ticket price. 7. 8. 9. 10. Eliot Van Buskirk: Report: Spotify Inks U.S. Deal with World's Largest Record Label. Spotify has reportedly made a deal with Universal Music Group, the behemoth among record labels, to distribute its music online in the United States. As such, we could be ever so slightly closer to the service launching here, after years of waiting -- and after Spotify has curtailed the "free" part of its "freemium" service to make it more palatable to copyright holders and ease royalty requirements.
If this AllThingsD report is on the money -- and its author Peter Kafka says he has multiple sources saying that it is -- then the main obstacle between Spotify and the United States is now Warner Music Group, which famously resists the notion of free, ad-supported music, possibly as a result of having been burned by its investment in the now-shuttered free music service Imeem. "Free streaming services are clearly not net positive for the industry, and as far as Warner Music is concerned will not be licensed," said Warner Music Group CEO Edgar Bronfman, Jr. last year. We shall see. Songs Stick in Teens' Heads. Become The William Shakespeare Of Direct-To-Fan Music Marketing. If you're new here, you may want to subscribe to my RSS feed. Thanks for visiting! Email Let’s forget all the foo foo today and get right into this… The fact is that if you want to do well online these days you need to have some serious writing skills, and I’m not just talking about clever lyrics.
There are blog posts, tweets, email messages and sales copy that all need to sparkle if you want to make a living. Below are a few tips that have stuck with me over the years and I hope they also help you find your own unique voice and unleash the inner wordsmith lurking in your belly. 1: Write Like A Whisky Drinker Forget about what you learned at school, this is not about getting good grades or winning prizes. So when you start writing your thing don’t hold back, write like you talk and don’t worry if you think that something is a little bit close to the bone. You could even write after a night out drinking and then edit in the morning once your hangover has started to wear off. 3: Daily Practice. Radiohead confirm the death of the music business | Music | The Observer. Radiohead at the Oxford Playhouse in 2007. Photograph: Insight-Visual UK / Rex Features If it had been released in the ordinary way of things, as Radiohead's seventh album on Parlophone, In Rainbows would still be a much admired record.
It's tender, adventurous, well-crafted and brimful of that fuzzy, unplaceable anxiety the band have made their stock in trade. And really, it had to be good – its actual manner of release was so unexpected that any disappointment would have been a cue to dismiss the whole thing as a scam. What Radiohead did was very simple. Free of their major label, they simply announced In Rainbows 10 days before its release and let the public decide what – if anything – they would pay to download it.
In fact, Radiohead weren't the first act to try pay-what-you-like downloads. Radiohead may have been riding a wave as well as making one, but that doesn't diminish their boldness. Pandora’s box of rising music costs John Shinal's Tech Investor. By John Shinal SAN FRANCISCO (MarketWatch) — As Pandora readies its initial stock offering, the time is right to examine how much the online music service has to pay to license its content. The result of that examination should give pause to individual investors thinking of buying the company’s shares once they hit the public markets on or about Wednesday.
For those who want the quick-hit version of this story: In the 12 months ended Oct. 31, 2010, Pandora paid out 49% of its revenue to license the music it sends to listeners via its customized, online radio channels. Wozniak and Fusion-io go public Steve Wozniak is on Fusion-io’s board, but MarketWatch’s Rex Cum wonders if the flash-memory company follow through on its closely-watched IPO. Even more important, the key royalty rates that the still-unprofitable company pays to artists and music publishers are set to rise significantly during the next four years. /conga/story/misc/listling.html180802 A tough compromise. Future Music Forum Barcelona: Music Conferences 2011 | Future Music Forum Barcelona.
Winter music conferences are numerous & far reaching, from Miami to Shanghai, thats why we prefer to put the Future Music Forum Barcelona a little earlier than the crowd. If you are not familiar with the conference it is loosely based off the the digital music conferences in San Francisco. As event organisers with a passion for music, Barcelona seemed an ideal spot to launch a conference for the music business online community. After a successful launch in 2010 we have studying vigorously the latest developments & happenings within music technology and how this technology in the future will change how we consume music. Music conferences tend to follow the same suit, panel after panels of experienced speakers talking about themselves & how great their particular project is.
What we can do, and what we hope our particular music conference will provide is a platform for ideas, a platform for networking & ultimately a platform where new projects can be born. Day Two : coming up. Like this: Audio Flower Gallery. In order to give you an idea of what's going on in a song at a glance we are doing research on new techniques for visualising the variability, or structural changes of rhythm, harmony and timbre in a song. Our current answer is Audio Flowers. Variability at different time scales is calculated directly from the mp3 file and averaged across a whole track. Then the average values are shown in the flower plot: rhythm, harmony and timbre with their respective colours red, green and blue. At the inner origin of the flower you see the average variability value of the shortest time scale (2 seconds), and at the tips the variability values of the longest one (64 seconds).
You will sometimes see translucent bits stick out under the opaque areas: the translucent bits represent the mean average: when this is bigger it usually means there are very significant, but rare changes going on, see the example of Be Young, Be Foolish, Be Happy, below. Do you like the visualisations? Harmonyrhythmtimbre Fresh. Do Social Networks Really Help Musicians? Social networks provide far reaching opportunities for musicians, the only trouble is they don’t work for the overwhelming majority of bands and aspiring artists. Critical mass and huge opportunity creates overcrowding. What always struck me as strange was how musicians on myspace.com actually thought that having a million friends was a good thing (despite the fact those friends were all musicians who only ‘friended’ so that they can get more ‘friends’ for themselves). Can people spot the problem here? It’s a fake market, a bit like the sub-prime mortgages that bought the banks down. A large proportion of musicians use social networks to build a fan base and launch their own careers.
As much as musicians like to deny it, statistically they will need the backing of a record label at some point. Yes, but there is a problem here also. 99% of the music on social networks is junk. Industry reps have to deal with noise everyday. So, what is the answer? Audio Rokit Founder, Darren Monson explains; Top 5 Websites for the Touring Musician: Free Places to Stay! | The Creation of Joy - blackrimglasses.com. The biggest challenge facing the music business is not necessarily piracy or the competition of attention for fan’s money and time, it’s making an experience joyful for people. And historically this has been the biggest miss. A lot of what is built as a means of saving an industry is a solution in search of a problem. Or more specifically, a solution for a problem, created by those that are reliant on the survival of their industry.
Rarely do you see a solution created with the goal of making a joyful experience for a fan; to address a problem they never knew they had. There are a few companies that do this well: Apple is one, and the entire WWDC keynote is an example of this, as is the experience of using iOS5, Lion and iCloud, even in beta. In the music space, Spotify is the one that comes to mind as a key example of this. For this reason, some in the music business don’t like it. But I don’t buy that. The non-music side of the business has always been about joy. Deezer : retour sur une dure limite... Jeudi 9 juin Musiques - 9 juin 2011 :: 06:31 :: Par Martin-Dourneau La mauvaise nouvelle de la limitation de l’écoute gratuite à 5 heures par mois sur Deezer a créé un choc pour les adeptes de la musique gratuite sur le net !
La mauvaise nouvelle de la limitation de l’écoute gratuite à 5 heures par mois sur Deezer a créé un choc pour les adeptes de la musique gratuite sur le net ! Il faut croire que le partenariat engagé avec Orange n’aura pas suffi à maintenir ce qui faisait de Deezer une plate-forme d’écoute totalement gratuite et légale… Google, Apple ou encore Amazon font régner une concurrence certainement trop rude pour Deezer depuis la sortie de leur propre plate-forme d’écoute musicale. La décision était prise il y a quelques mois : intégrer des publicités entre les morceaux de musique diffusés pour les membres qui ne s’abonnent pas. Même tournure il y a quelques semaines pour Spotify, récemment allié à SFR et principal concurrent de Deezer. Plus d'infos sur : Deezer, droits, WTF.
Music Net.Works #3 – “Les métadonnées : vers un web intelligent ?” » Music Net Works. Eliot Van Buskirk: Does 'iTunes Match' Offer 'Parley' to Music Pirates? In the year 2000, when MP3.com launched a service that allowed people to stream their own music from "the cloud" by authenticating it with a CD, the labels sued. Apparently, ownership of a CD didn't prove ownership of the songs thereon. And so for the following decade, music lockers like Amazon Cloud Drive, MP3Tunes, Music Beta by Google, and mSpot asked users to upload their actual music files to their lockers, creating their own "DIY (do it yourself) cloud" music services, so to speak.
The problem with this for the music industry, the way we see it, is that the DIY cloud reinforces old behaviors: pirating music files rather than streaming them from legal services like YouTube or Spotify or, once in a blue moon, actually buying songs piecemeal from iTunes or another download store -- usually when a well-intentioned relative gives you an iTunes gift certificate (thus iTunes' annual sales spike in January, but that's another story). Industry critic Bob Lefsetz sees it another way. Music industry furious at iCloud - Steve Jobs is P2P pirate. Apple's new cloud music service has been slammed by the music industry for making piracy legal. Software messiah Steve Jobs emerged from his sickbed to announce the iCloud, which will allow people to store their songs, calendar entries and other files on Apple's servers.
But what has got the music industry's goat is a tool called iTunes Match, which has been dubbed by some as a "music pirate amnesty". What the $24.95 a year service does is scan users' hard drives for music, including files obtained illegally, and matches them with the authorised tracks in Apple's iTunes library. It then makes a quality iTunes version of the tracks automatically accessible in the iCloud.
This service is only available to US users where piracy levels are low. The sorts of US Apple users are only going to want to stream their Coldplay collections anyway, and chances are they would have bought them. Hmm. Using a metaphore, he said that Jobs was allowing punters to legally park their stolen cars. The Present and Future State of Music. Eliot Van Buskirk: Report: Apple Pays $100 Million to Labels for iCloud. Music insiders have long known that starting any sort of large-scale music distribution service requires big upfront payments to the major labels, in the form of cash or equity in the service -- see MySpace Music, Vevo, Imeem, and Spotify.
Now, three sources (we guess from the labels themselves) have reportedly indicated to the New York Post that Apple paid major labels advances totaling over $100 million for the right to launch whatever music service Steve Jobs and company plan to unveil on Monday. As a result of these licenses and agreements with music publishers, the Apple iCloud will allow people who purchase music downloads from iTunes to replicate those songs -- and most likely music obtained in other ways too, such as from MP3 blogs, bit torrent, Amazon MP3, and CDs -- to a storage locker in "the cloud.
" In this case, the cloud means servers in Apple's new data center in North Carolina (view in Google Maps). See Also: Remake, Remodel: The Evolution Of The Record Label — MusicTank. Musique et Internet, le temps de l'apaisement, Analyses de la rédaction. Newsbeat - Label targets schools to combat illegal downloading. ADISQ. How digital music startups are thriving at London's Silicon Roundabout.
Fair music » News & Events. David Byrne: How architecture helped music evolve. Broadway’s Top Ten Musical Flops. Facebook To Launch Music Service With Spotify - Parmy Olson - Disruptors. Jonathan Coulton » Blog Archive » On Snuggies and Business Models. Do Musicians Have Better Brains? Why the Music Industry Must Change Its Strategy to Reach Digital Natives. Lady Gaga's Born This Way Album On Sale For $0.99 on Amazon. Why the Ivor Novello awards are an industry favourite. Hargreaves report: industry responds on IP recommendations.
Wahwah.fm is like a Foursquare for sound – stream your music in a location (TCTV) Question: Is this the best or the worst time for independent musicians? Can Social Gaming Revive The Music Industry? SoundAffects: Turning Everyday Urban Data into Musical Sound. La Suède, première “puissance musicale” du monde. 10 ans d'edition phonographique. Musique : la France se convertit petit à petit au "digital" - So_cult’ - ElectronLibre. 'Record labels are not dinosaurs of the music industry' | Business. Keen On… Will The Music Revolution Be Streamed? (TCTV)
Les enjeux du numérique pour la filière musicale française. So you wanna be a rock star? TourIntel Offers Free Look At Live Show Data. 3 Questions to Helienne Lindvall, a World Copyright Summit speaker | World Copyright Summit. London 2011 » Workshop W1: Music and Semantic Web. Highlights From SF MusicTech: Tools, Tech, Revenue, Recommendation, Live & The Cloud. S Twitter 140: Music-Industry Characters You Need To Follow. Google Aiming For Full Music Service With Internet Radio, Download Store, Sources Say.
The REAL Death Of The Music Industry. Muzicol.com | Vendez votre musique directement à vos fans. Music Industry Survival Guide: Tips for Musicians. Music. New Music Strategies. Music Week - Music business magazine. Musique, auteurs, compositeurs, Sacem et droit d'auteur. News. Bandcamp Blog. BMAT - Barcelona Music & Audio Technologies. Faculty - David Kusek - Music Business. LimeWire, Labels Settle Lawsuit for $105 Million. Drum Kit. Blog. How to Track the Future of the Music Industry. Recording Industry vs. The People.
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