AT&T purchase of Time Warner for $85.4 billion is
a fantasy. A fantasy of old white men who don’t
understand the Millennial world and think delivery
systems solve their future problems. So, outside of Game
of Thrones, how many Millennials use a paid
subscription to access the show? Or how many share a
friend or parent’s HBO subscription?
Releasing music requires a massive amount of work for any artist as they must ensure their music is promoted and marketed in such a way as to actually reach the listener. Here we look at ten different techniques for increasing the revenue earned from your tunes.
U.S. Register of Copyrights Maria Pallante was removed from her job Friday morning (Oct. 21) by the Librarian of Congress, Carla Hayden, who has authority over the Copyright Office. Officially, Pallante has been appointed as a senior adviser for digital strategy for the Library of Congress, although it’s clear she was asked to step down. Karyn Temple Claggett, currently associate register of copyrights, has been appointed the acting register.
In a move with no historical precedent Dr. Carla Hayden the newly appointed Librarian of Congress has removed Maria Pallante the Register of Copyrights. (Hayden testifying before Senate at confirmation hearing).
Spotify, SoundCloud, Twitter and other major sites were down or loading slowly all day on Friday thanks to a massive Distributed Denial Of Services (DD0S) attack. By Friday evening the problem had been resolved according to the subject of the attack, managed DNS provider DYN.
To avoid properly compensating songwriters, big data purveyors Amazon and Google are claiming they are unable to find contact information for the deserving songwriters, instead opting to file copyright notices in what appears to be a music land grab, says Chris Castle. The government’s compulsory license has become distorted by rent-seeking behavior by multinational media corporations. It should be stopped or substantially modified. If Google is allowed to use this loophole to profit at the expense of songwriters from its considerable influence peddling and litigiousness, that will be crony capitalism writ large.
About 10 years ago, a pretty awful music producer was sitting in his parents spare-room on his computer trying to make sense of Ableton Live, and the world of record labels, sales and music production. That producer was me, and there are a few things I wish somebody had told me back then.
Why use YouTube to get more fans? Video has always been an important medium for music promotion. Music videos, documentaries, and concert films, have given fans a way to connect more deeply to the music, and the bands they hold so dear. So it’s no surprise that YouTube has become a must-use social media platform for musicians. But beyond just simply being a video platform, there are real tangible reasons why YouTube presents a great opportunity for you to find more fans.
As live streaming and other newer media models becoming increasingly commonplace in the new music economy, it may be time to revisit donations and see if they are perhaps a more legitimate component of artists' business model than previously thought.
Apple's decision to ditch the headphone jack highlighted the idea that future music services might soon be device specific, and it looks as though Amazon is taking the plunge by offering a subscription service with a strict one device limit.
Earlier this week, Amazon unveiled its all-new Spotify rival in the US – ‘Amazon Music Unlimited’ – complete with two subscription packages that bested its rivals on price. Why did the major labels agree to sign away their rights for Amazon’s price-deducted offers when some feel that even the industry-standard $9.99-a-month streaming offer is too cheap?
Pandora has launched a major upgrade to its free AMP artist marketing platform. In addition to enhanced analytics, it enables all artists to communicate directly with fans, market music and tours, and track their progress.
Signing to a major label used to be the only way to succeed. Now, in a world dominated by streaming music, it can cost an artist dearly. Perhaps the number one question we get from artists is the following: ‘what do streaming services actually pay?’ At first, we had no idea, and none of the streaming services would tell us.
Maybe you have written some good song lyrics and believe you’re a good songwriter (or at least have been told so). So now, all you need to make it big is to record the right songs that will get picked up by a major label, artist, or publisher, right? Well, not exactly. Not according to industry statistics, which have painted a dismal picture for the music creation fraternity; especially songwriters. To begin with, approximately 19 out of every 20 songwriters, who have had their music published, do not earn enough from their craft to live comfortably. That is, according to figures released by several performing rights organizations in the U.S.
It seems the industry has finally reached a point where music streaming revenue has become the greatest contributor of royalties for both artists and labels and, as purchases continue to drop, this increasing prominence of streaming will reshape many other aspects of the industry.
Amazon Music Unlimited has launched in the US with plans priced well below Spotify and Apple Music. Launches in the UK, Germany and Austria are planned for later this year. Priced at $7.99 per month and $79 per year for Amazon Prime members, Music Unlimited offers full on demand access to tens of millions of tracks on any device. With the yearly plan that is $40.88 less than most of its competitors. Non-Prime customers can subscribe for $9.99 per month.
When will the music industry learn? Clearly never. Universal Music Publishing Group (among others) are now aggressively issuing takedown notices to Facebook for cover videos of their songs. Facebook complies with these DMCA notices and removes the videos immediately with a scary notice to the offending party stating “it is our policy to terminate the accounts of repeat infringers when appropriate."
Facebook has released a new standalone Events app aimed at its most active and detail-oriented users. The events tab on your profile isn’t going away, but with 100 million people using Facebook to track events daily, the company hopes an expanded version will find a place next to Messenger on your smartphone.
Spotify Helped Me As An Artist - Here Is How
In this article, indie artist Pip Blom recounts the process releasing their new EP, and how Spotify enabled them to find and reach an international audience which would have otherwise been closed off to them, as well as helping them to build a network and fanbase.
There’s so much more to being a professional musician than just creating and playing music. If you want to make it in this business, you’ve got to stand out from the crowd, and when it comes to musicians, that’s tough. Some people go overboard with insane costumes and exaggerated personalities, but that’s hard to pull off. Sure, it’s worked for some, but if you’re not trying to wear a mask onstage or be batshit crazy online, you’re going to have to find something that works for you.
While the rise of DIY culture has in many ways made it easier for artists to exercise their musical creative side, it has also precipitated a barrage of press solicitations from said DIY artists to online music writers. Here we look at some ways to capture these writer's attention and prevent your emails from falling into inbox purgatory.
With recent news in the air that Spotify may be forking over cash in a potential SoundCloud buy up, Bas Grasmayer takes a moment to scrutinize what seems to be developing into a broader trend towards a gradual consolidation of the music streaming corner of the industry.
Digital Distributor TuneCore has acquired JustGo, a platform that helps grassroots artists manage their social media presence. JustGo will cease to exist as a standalone service and will morph into TuneCore Social, offering social media management and analytics tools to artists distributing their tracks to download and streaming services via the company.