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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.
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.
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.
By ROBERT LEE HOTZ Emory University scientists studying teenagers listening to new music have discovered tell-tale brain responses that could help predict a song's commercial success. WSJ's Lee Hotz has the results of a study indicating brain activity can predict the success of popular music. Photo: Emory University ZUMA Press
If you're new here, you may want to subscribe to my RSS feed . Thanks for visiting! 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.
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.
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.
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
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.
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?
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.
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 !
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).
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.