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July 27, 2010

HP unmasks music with Dr Dre

(* Source: Giles Fitzgerald *)

 

Dr. Dre does his very best to look like an old school Cylon in this latest promo for Hewlett Packard’s continuing collaboration with the producer. Either that or that’s a fairly heavy-duty cycling mask.

The ad sees Dre in a cybernetic music studio in the future embedding Beats technology chips into the very heart of HP’s products, while the track ‘Detox’ from the new Album by Dr Dre – which seems to be in perpetual sate of pre-release – runs in the background.

The commercial is part of an ongoing partnership between the musician and the technology company on the HP Envy Laptop – a device that HP refers to as the “first laptop made for music”.  HP’s sell here is that the added Beats enhancement will enable users to hear the music the way the artist intended. This is a clear swipe at Apple’s dominance of the music market and the increasing pressure the brand is putting on laptop manufacturers with the iPad.

In the age of MP3, where sound quality is already diminished, its questionable whether this will lure in the average consumer. However, the creative partnership is one that is at least pushing the accepted boundaries of quality when it comes to entertainment and what it means to endorse a product.

 

July 21, 2010

MOG Launches All-You-Can-Eat Music Service For iPhone And Android

 (* Source: Jason Kincaid *)

 

 

After months of waiting, it’s finally here. Streaming music service MOG has launched its mobile applications for Android and iPhone, giving subscribers unlimited access to its library of 8 million songs, which can be streamed or downloaded over both 3G and WiFi. If you listen to a lot of music, or just like being able to listen to music on-demand without having to sync to your PC, this is definitely worth checking out. Access to the mobile service costs $9.99 a month, but MOG is offering free 3-day trials when you download the apps (no credit card is required).

When MOG launched its All Access music service back in December, we gave it a rave review, but it was missing one key feature: mobile. These applications bring all of the functionality of the desktop service and they do it one better, by allowing you to store as many songs and albums as you’d like to your phone’s storage for offline access.

Navigating the application should come naturally to anyone who has used the iPhone’s music player (and it’s actually a big step up over the music player that comes stock on Android). After first firing up the app, the first feature you’ll want to try is search. You’ll find the regular options here, like searching by artist and song, but there’s also an option for Playlists, which allow you to search through user-curated playlists created by MOG’s large community of music fans. This is part of a recurring theme in the application: discovery, which is important if you’re keen on tapping into the service’s broad music library. The main navigation screen also includes a list of New Releases, top songs and albums across the service, and a collection of songs handpicked by MOG’s editors on a daily basis.

MOG really shines when it comes to actually getting the music you want to hear onto your phone. When you find a song or album you like, you have two options: you can stream it (just tap the song or album title), or you can download it and store it locally. Next to each song and album is an arrow pointing downward; hit that, and MOG will start downloading the files the background (it’s really nice to be able to download an entire album or playlist in one tap).

 

More here

July 05, 2010

I dig the iRig

(* Source: Steve Donovan *)

 

 

Steve says...

Anybody out there remember the Rockman? It was this little personal guitar amplifier, about the size of a Sony Walkman (adding “man” to anything portable was all the rage in the 80s, you know).The Rockman let you play distorted guitar through headphones and it curiously made everything you played sound like BOSTON.

The AmpliTube iRig combo for the iPhone is kind of like the Rockman except WAY cooler. WAY, WAY, WAY cooler. We first told you about it a couple of weeks ago. I finally got my hands on one and while it’s been reviewed once or twice since that time, I thought I’d give you my view on it anyway since it ships this week – July 6 to be exact.

First lets talk about the iRig dongle. What is it? The iRig is a special connector that has an input for a 1/4 mono guitar cord as well as a headphone output jack. It showed up in the mail a few days ago and I was immediately impressed by the solidness of it. It’s still plastic, but the cable cover and coupling are pretty solid. It feels like you could pull on it pretty hard, or it could get ripped out of the iPhone many times and would not be damaged. That’s pretty much all it does; it connects the instrument to the iPhone.

AmpliTube is the amplifier modeling software that runs on the iPhone. It looks and sounds as good as you could expect for something this small and portable. The interface design is pretty great. Seeing all the stomp-boxes on your iPhone screen, complete with working LEDs and tactile knobs and controls, is a fun and natural way to conceptualize the effects. The tones they produce are pretty realistic too. Heck, just having a guitar tuner on board is a nice feature to note.

The software also lets you transfer songs to the app over wifi from any host computer on that wifi network. Once you transfer a song over, you can play along or set sections to loop. The loop triggering is pretty intuitive and works well.

Come to think of it, if I had to sum up the AmpliTube iRig combo in one word, that would be the word I would choose – intuitive. You don’t have to read one instruction manual or download a single PDF to figure out how to use AmpliTube for iPhone. Just plug  your guitar or bass in and start fiddling with it. In no time you will have some serious guitar fuzz flowing past your little eardrums.

 

June 29, 2010

Converse Makes (More) Music

(* Source: PSFK *)

 

PSFK says...

Converse continues to use music and the arts as an integral platform for the brand, partnering with musician Kid Cudi on a (very) short film that captures Cudi exploring his native Cleveland while reflecting on his artistic journey. The short film actually represents one third of a collaboration Converse facilitated with 3 artists – Kid Cudi, Best Coast’s Bethany Cosentino, and Vampire Weekend’s Rostam Batmanglij - to produce 1 song, which will be released on July 7th on the Converse Blog. Until that release, visitors to the site can view videos shot with each artist telling their story. It’s worth noting that, while the artists wear Converse throughout the video, it’s very subtle – and the brand is not significantly visible until it appears against a blank screen at the very conclusion of the video.

For a brand like Converse to partner with musicians and artists – arguably to cement their positioning and association as a consistently youthful and relevant lifestyle brand – is not necessarily insightful. But Converse seems to have a very tight understanding of the personality and tone that their customers have come to expect from them, and of the type of artists and musicians that they gravitate towards. Kid Cudi, Best Coast and Vampire Weekend are not little-known musicians, but they have a rather unique, independent style that aligns with Converse’s brand equity.

The Converse Blog also serves as a platform for visitors to add their own artistic work, with the brand selecting a few artists and musicians’ work to showcase regularly. The blog in essence serves as a brand-curated vehicle to publish and publicize musicians’ and artists’ work, and for Converse to strengthen its association to and support of (oftentimes independent) musicians and artists.

 

May 20, 2010

Music Matters Update

(* Source: Music Matters *)

 

MM10 Header

 

Music Matter tells us that they are delighted to announce that Jeff Jones, CEO of Apple Corps, Jeff has been responsible for extending the scope of the Beatles into exciting new domains such as the Beatles: Rock Band game, the new Beatles.com website, and the Cirque du Soleil collaboration Love.

All this is before Jason Mraz takes the stage and we launch "Music Matters Live with H&M", HK's newest music festival, featuring over 30 bands from 12 countries in Lan Kwai Fong. 

 

 

April 16, 2010

How Much do Music Artists Earn Online?

(* Source: Stan Schroeder *)

 

 

http://mashable.com/wp-content/uploads/2010/04/selling_out_small.png

 

Stan says...

For years, we’ve heard the music industry talk about declining sales and profits — often unconvincingly tying these numbers to piracy) — but what about the artists? How much do they earn when their music is distributed online, compared to selling CDs?

It’s a very hard question to answer because much of this data is kept secret and it varies from country to country. Still, David McCandless, author of the book “Information Is Beautiful,” rolled up his sleeves, researched the available data and created this beautiful infographic that shows how hard life is these days for most music artists (unless they’re Lady Gaga).

McCandless discloses that the data was very hard to research and that it may not, therefore, be 100% accurate. He also warns that “these figures do not include publishing royalties (paid to composers of songs).” However, you can check out the full spreadsheet of data, that does include royalties, here.

Check out the infographic below (beware, it’s a big one).

 

April 12, 2010

Music Hack Day

(* Source: Jason Kincaid *)

 

 


Jason says...

What do you get when you combine music with frantic, all night hour coding sessions?  An event called Music Hack Day, where developers have 24 hours to hack together a new music-related app, which they then show off to their peers at event’s conclusion. Music Hack Day has previously been held in London, Berlin, Amsterdam, Boston, and Stockhold; this is the first time it’s coming to the Bay Area. The event runs May 15-16, and is being held at the Automattic offices at Pier 38 in San Francisco.

The main goal Music Hack Day, according to its homepage, is “to explore and build the next generation of music applications”. Aside from that, anything goes — it just has to do with music. Space is limited, so you’ll want to register here (it’s based on a first-come first-served basis, and the organizers will also be looking to ensure the people attending are planning to actually help make something).

Music Hack Day is run by an interesting group of guys with experience in both music and tech: Dave Haynes (of SoundCloud), Paul Lamere (of Echonest) and Daniel Raffel (Senior Product Manager at Yahoo!, used to run some record labels). Also attending the event will be representatives from music companies like SongKick, Pandora, SonicLiving, Songbird, and Last.fm.

The timing is also good for developers: Muisc Hack Day is taking place the weekend before Google I/O and the SF MusicTech summit, so developers from out of the town can hit up multiple events on the same trip. So rock on. And try not to think too hard about the pain some earlier music startups have suffered through — things are finally looking up for a few of them.

 

March 31, 2010

5 Free Ways to Identify that Song Stuck in Your Head


(* Source: Amy-Mae Elliott *)
 
 
 
Getting a tune stuck in your head and not being able to identify it, or hearing the best song ever and not knowing who it is by, are two of the most annoying things that plague human kind.

To help you out of such musical dilemmas, we’ve pulled together a handy list of resources that can help you out, and all for gratis.

To test the services, we picked two tracks to try out with each one, the first a classic head-sticking tune — Suzanne Vega’s Tom’s Diner — and the second, an absolute classic — Squeeze’s Tempted.

Read on to see how the services managed in identifying the tracks, and let us know any success stories you’ve had in the comments below.


1. Midomi


Midomi offers a wicked service that is just perfect for those tune-stuck-in-your-head moments. It lets you sing into the microphone and — even with our tone-deaf renditions of tunes — managed to isolate the tracks we were attempting to sing.

Although not advised if you’re in an Internet cafe, using the site is simple. Just hit the “click and hum or sing” box and do your thing. We found we had to shout, rather than sing (which is perhaps more an indication of the quality of our mic than the service) but the results were great.

Humming (or “duh-duh-ing” as is perhaps more accurate), it identified Tom’s Diner right away (somewhat randomly Fear of the Dark by Iron maiden came up second, but heck, the first option is what counts). Likewise, 10 seconds of Squeeze’s Tempted was no challenge for the service. It returned the song soon after we blared out the first two lines or so.

When Midomi identifies the song, it also offers a clip for playback so you can check it against the song in your head, rather than take its word for it.

And though we’re rating this service as best for humming/singing a song, it also went two for two when we played clips of the actual recordings into the PC’s mic.

Best for: Hummers


2. Musipedia


Musipedia offers a wealth of ways to identify your music, from the super-simple keyboard tapping (which actually came up with squat for both our songs) to drawing the musical notes on a graph, to melodic contour search using the Parsons Code — in all, a good octave above our musical heads.

The other thing it offers, is a sweet Flash-based piano keyboard that lets you plunk out the music you’re trying to identify. After you hit the notes on the virtual keyboard, it will play them back to ensure it sounds roughly as you intended. Once the melody is set, you can ask the service to search.

While Musipedia seems to be focused more on classical music, it did correctly identify Tom’s Diner, albeit as the fifth suggestion down. Unfortunately, we could not get it to recognize Tempted.

We’re unsure if this is because Squeeze’s back catalog has not made it into the service’s database, but the site seemed to have no difficulty matching many “classical” tunes to the simple note pattern we’d laid down.

Best for: Musicians, Classical Music Fans


3. Tunatic


Tunatic is offered as free downloadable software for PCs and Macs, rather than as a web-based service, although it does need an Internet connection to access the database to find the track.

With a super-simple, thumbnail-size interface, you simply click and blast your mic with the tune you want identified.

tunatic button

The results were interesting. Tunatic got both of the songs within seconds, but attributed them to artists that were not quite correct.

Tom’s Diner was attributed to music group DNA, who did make the song popular with their dance remix, but the song itself belongs to Suzanne Vega. Additionally, Tempted was attributed to Paul Carrack, a member of Squeeze, rather than the group.

These answers aren’t incorrect per se, but it’s worth pointing out that you might want to do a bit more research on top of a Tunatic result, which is as easy as clicking an arrow next to the response that opens a web page that includes links to buy the track and a Google search box with the term already entered.

Best for: Freeware Fans


4. Shazam


The Shazam music identifying service is available across a variety of mobile devices — some even come with the app pre-loaded. BlackBerry, Windows Mobile, Android, and Nokia apps are all offered, but we took a look at the free option available in the App Store for iPhones and iPod touches.

The free version offers you limited functionality compared to the full $4.99 per month version, but it does let you “tag” (i.e., record and hopefully identify) five songs a month.

It’s really easy to use. Just download the app, load it up, and hit “tag now,” at which point Shazam “listens” for about 10 seconds before analyzing the track, identifying it, and offering an iTunes link to buy it, the ability to share it on Facebook and Twitter, to look up YouTube videos, see tour dates, and more.

You can even add a location to a tag, and if you’re not in an area where there’s cell coverage or Wi-Fi, the app will save the musical snippet until you are.

It worked perfectly on an iPod touch using Apple’s headphone/microphone to identify both Tom’s Diner and Tempted on the first try. We think having this on your mobile could be really handy if you’re out and about and catch a song that you like the sound of.

Best for: Mobile Users, On the Go


5. Name My Tune


Name My Tune is not the best option if you want instant answers, but it does offers really neat functionality in that its answers are from a community that you can get involved with.

The site offers two options — record your 10-second clip for others to identify (with the answer e-mailed to you when someone does) — and listen to recordings others have made.

You can do this second option via genre, and via era. So if you’re a 1960s blues bluff, you can listen to a narrowed down set of results in order to try and help your fellow netizens. Once you’ve identified a tune (which we did — the fairly recognizable Little Green Bag by the George Baker Selection from Reservoir Dogs) you simply enter the artist and title.

As for anyone recognizing our out-of-tune warblings into the mic, we’ve had no e-mails from the service as yet (hence our reason for stating it’s not the best option for those looking for instant relief), but we will update this post when we do with how long it took for an answer to come through.

Best for: Community-Minded Souls

 

March 25, 2010

Global Lineup @ Music Matters 2010

(* Source: b-side *)

 

MM10 Header

 

In its fifth year, Music Matters present a global line-up of some of the world’s most innovative and dynamic figures from across the music, media, entertainment and technology industries...

  • Daniel Ek, Spotify
  • Neil Warnock, The Agency Group Ltd
  • Norman Cheng, Gold Typhoon Entertainment Ltd
  • Vijay Lazarus, Indian Music Industry & Phonographic Performance Ltd
  • Daniel DiCicco, Sony Music Entertainment Asia
  • Rob Wells, Universal Music Group International
  • Tony Yapp, Qun Yin Culture & Entertainment Ltd
  • Neeraj Roy, Hungama Mobile
  • Scarlett Li, Zebra Media
  • John Kennedy, IFPI
  • Joe Belliotti, The Coca-Cola Company
  • Bernie Cho, DFSB Kollective
  • Terry McBride, Nettwerk Music Group
  • Yu Sasamoto, Microsoft - Japan
  • Rob Lewis, Omnifone Group Ltd
  • Vince Bannon, Getty Images


View latest programme here.


 

March 22, 2010

How Musicians Are Using Social Media to Connect with Fans

(* Source: Greg Rollett via three billion *)

 

 

Today’s musicians, both mainstream and indie, are using social media to connect with fans, build anticipation, and generate revenue in new and unique ways. The products range from singles to mix tapes to digital six-packs, even oddly shaped USB sticks, vinyl, and the occasional traditional album.

But how are these artists reaching their new fan bases online through social channels? Much like the business world, social media promotion for musicians is still a very new game, with no exact recipe for platinum success.

There are however, some innovations being put forth, and a new connection is being formed between artists and fans — a connection that empowers both to give each other what they are looking for.


Fan-Funded Projects

Kickstarter Image

We have all heard about the success of micro lending organizations like Kiva, which use multiple small payments to contribute to a larger goal. The same process is being applied to creating an album or a music-based project.

One such project is the Washington D.C.-based indie hip-hop group Panacea. The producer/MC duo listed their project on Kickstater, a funding platform for artists, designers, filmmakers, musicians, journalists, inventors, explorers, and others.

The project was posted on the morning of February 26th. According to Jeremy Calvery, the group’s Director of Digital Media and Promotion, “We were at $1,000 before the end of the first day. We had to increase the number of $200 packages from three to five over the weekend because people were e-mailing and literally begging for the chance to ‘buy’ the whole back catalog. Less than five full days from the first e-mail to the list, we had reached the funding goal of $3,800, which was set to be just a bit more than what the minimum press of 250 vinyl copies was going to cost.”

Another hip-hop outfit, the Get Busy Committee, also launched a project on Kickstarter. In their drive to raise $3,218, they included one premium pledge level at $1,000 — an investment that netted the donor a song about him or herself to be included on the record, as well as a platinum plaque. They sold this spot within 24 hours.


Using Video to Create Buzz

Another approach musicians are taking is the use of web video series. Indie pop artist Mike Posner has been telling his story over the course of a video series titled “One Foot Out The Door.” Daniel Weisman, Mike’s manager, stated that he was attempting to create an income stream for Mike while he was finishing college and working on his debut album.

Daniel and his management company Elitaste were approached by the shoe company Puma about integrated artist campaigns. Puma ended up sponsoring Mike’s last semester in college, and provided a camera crew to follow him from classes, to the studio, to shows all over the country.

Daniel wanted to do something special for the Mashable (Mashable) readers when I reached out to him, so fresh off the upload, here is the premier of Episode #10 of “One Foot Out The Door.”

Puma Presents: Mike Posner “One Foot Out The Door” Episode 10: California Love from Mike Posner on Vimeo.

 

 

Live streaming has also been worthwhile for big announcements. Underground artists the Kottonmouth Kings turned to Ustream to tell their fans all about their new album and when they could expect it in local stores.

The video was watched live and formatted like a press conference, with fans getting the chance to ask questions and share their feedback. It was a smart way to bring their fans into the experience and give back to the community that has supported them for 10+ years.


Creativity From the Fans

Mulba 2.0 Image

Rob And Kal are a pop/rock act from the UK who are taking fans inside their studio and the music creation process. They call it Mubla 2.0, which Rob defined as “our interactive recording project where we come up with song ideas and you help us develop them with your comments, suggestions and musicianship.”

So far they have five songs in progress with fans like Adam saying, “I just feel the intro has a little too much going on and 2.33 to 2.56 I almost want the piano to play and pull at the heart strings.” Another commenter named Russell gave tips like, “Think drums and a bit more of heavier guitar would go down nicely particularly near end.”

This concept empowers fans and gives them a product they feel responsible for and connected to. The project can only strengthen the bond between fans and artists, and result in an easier sale when the time comes to release an album.


Reaching Out to Non-Music Bloggers

Glasses Malone Image

Glasses Malone, a new artist signed with Cash Money Records, is turning to bloggers to get the word out about his new album “Beach Cruiser.” What makes his campaign unique is that unlike traditional artists who look to get their tracks on highly trafficked MP3 blogs and review sites, Glasses and his team are focused on adding value to bloggers whose primary focus is not on music.

A marketing rep for Glasses told me, “These bloggers are more open to running contests and integrated campaigns than traditional music bloggers because they are not accustomed to being pitched by a major label artist. We have found blogs that love unique and fresh content that will separate them from their peers and competition, and it is working out very well for us so far.”

Armed with a research team, they have been targeting biking blogs, college blogs, beach lifestyle sites and more, all with the hope of driving new traffic to Glasses’ site and generating some pre-album buzz.


Conclusion

No matter what the labels and corporations are doing, musicians are taking it upon themselves to use social channels to connect with fans, offer value, and create relationship. This has ultimately led to new business models and revenue streams from sponsorships, touring and live appearances, custom products, and social monetization through advertising.

 

March 16, 2010

MOG Is Bringing Its Impressive Music Service To iPhone And Android

(* Source: Jason Kincaid *)

 

 

Jason says...

CEO David Hyman is introducing the service’s new mobile functionality. This is a major step for MOG, and may be an inflection point in the success of the service. Up until now, users have been restricted to using MOG’s streaming music service on their computers. That’s fine for casual listening at work, but as we’ve seen with the success of the mobile versions of Pandora, users want mobile. And that’s what MOG is unveiling today. Read below for my notes.

Hyman kicked off the talk with some background information. MOG Music Network, the editorial-based site hosted at MOG.com, reaches 16 million unique visitors a month. In December, the company launched Mog All Access, its streaming music service that costs $5/month for all-you-can-eat streaming music. The company is getting 17% conversion from its 3 day free trial (which is high). MOG, Hyman says, is a music service people will actually pay for. But the key will be portability.

MOG’s mobile applications for Android and iPhone will launch in Q2, featuring on-demand streams, downloads, MOG Radio, your library and playlists, High Quality audio, and a $10/month price tag (which includes both mobile and the web version of the service).

First, MOG showcased its Android application. As with the desktop version of MOG, users can stream any song on demand (they can also edit their playlists and upcoming song queue). Along with playlists and individual songs, users can also tap into MOG Radio, which generates a playlist of songs based on one of your favorite artists, albums, or songs (it’s a bit like Pandora, but you can dynamically adjust the content of your station using a slider and can jump to new songs as many times as you’d like). One other very slick feature: on Android, the service will feature voice commands, so you can simply say the name of the artist you’re looking for.

Next, MOG showed off the company’s iPhone application. In general, MOG is looking to keep the interfaces of the iPhone and Android applications consistent.  From a feature perspective, the iPhone and Android applications are identical (save for the Android voice search), and the applications are being developed side by side.

All of MOG’s on-demand streaming functionality looks great, but the killer feature is offline downloading. Using this, users can tap on a song or album they like and choose to download it to their iPhone or Android device, allowing you to seamlessly use the application when your phone doesn’t have connectivity. Hyman says that other offline services that have caching just cache your playlists — MOG lets you select any playlist or album on the site and immediately begin downloading it. Mobile web streaming and downloads will default t0 64kb AAC+ but users have the option to download 320kb/s files (which would obviously take much longer.  Streaming and downloading works over Wi-Fi, 3G, and EDGE.

Regarding whether or not MOG was worried Apple would turn down the application, Hyman said that historically Apple has allowed other subscription-based applications that feature local caching (he alluded to Spotify, which was previously accepted by Apple). But as always, nothing is certain with the App Store.

MOG will be facing off with plenty of competitors. Last fall, Spotify released applications for both iPhone and Android, but the service still isn’t available stateside. Pandora has become very popular on mobile devices, but it doesn’t let you play any song you’d like on demand (it’s free, so plenty of people are willing to overlook that). From a feature perspective, Rhapsody is most similar to MOG (especially once it gets offline playback for its iPhone application, which is coming soon), but it’s $15 a month compared to MOG’s $10.

 

March 01, 2010

Music Matters 2010

(* Source: b-side *)

 

 

 

 

Every year b-side supports Music Matters. Now in its 5th year, its become for the Asian music industry a must attend entry on their music calendar. 

More info here

 

 

 

 

 

 

February 23, 2010

Songkick lays its claim on the music events crown

(* Source: Mike Butcher *)

 

 


Songkick said last year that they wanted to become the largest global database of concerts in the world. It looks like they may have got there already.

Their latest figures say the site now carries information on 100,000 upcoming music events, with over 2,500 added daily from about 80 sources. These include Ticketmaster down to small local listings papers, as well as by the Songkick user community. It’s particularly that aspect which has supercharged the site: user uploads are now up 900% year on year.

The live music industry’s benchmark for coverage until now has been Pollstar’s data – and their homepage currently says they know of “11,978 Artists and 78,818 Events”. Songkick’s numbers quoted are from internal data.

Competitors include TiBconcerts, Bandsintown, Livekick, hearwhere, GigJunkie.net, Setlist.fm, GigLocator and Gig Lovers. However, Songkick has been around since 2007 and is clearly building traction.

Songkick is also making hay with it’s API strategy, releasing data on the 1.4 million past concerts and complete tour histories of thousands of artists going back 50 years for third party developers. As a result, the Hype Machine has now launched listings via the Singkick API.

Songkick’s business model is based around offering affiliates a revenue split on ticket sales.

 

January 20, 2010

Music 2010: Apple’s Secret Cloud Strategy

 (* Source: Michael Robertson *)

 

This is a guest post from Michael Robertson, a 12-year veteran of the digital music business. He is the founder and former CEO of digital music pioneer MP3.com. He is currently the CEO of music locker company MP3tunes. Robertson is also an adviser to Google Voice.

 

 

Michael says...

For years there’s been speculation that Apple would supplement their $1/song (now $1.29) iTunes business with a monthly subscription service, but their upcoming plans are quite different and once again are positioning them to lead the digital music industry into a new era. Leveraging their ubiquitous iTunes software Apple plans to upgrade their users almost over night to a cloud music service in an ambitious move to beat Amazon and others to a cloud music service. Record labels are wary to give Apple even greater dominance which is why Apple’s new strategy is designed to sidestep new licenses from the major labels.

Apple’s recent acquisition of digital music startup Lala rekindled speculation of an iTunes subscription service. There’s no shortage of subscription offerings (Napster, Rhapsody, Spotify, Pandora, etc), but none have attracted the millions of subscribers necessary to make the high royalty structures work. Experts have pondered that Apple’s design expertise and hardware integration could make subscription work. And leveraging Lala’s digital library, licenses from the major labels, and a management team who cycled through several business models including the ten cent web song rental could make it a reality. It’s a logical assumption, but after talking to a wide variety of insider sources it’s clear there is no upcoming Apple subscription service and Apple has far different plans.

Lala will play a critical role in Apple’s music future, but not for the reasons cited above. Lala’s licenses with major labels are non-transferable, so they’re not usable for any new iTunes service. The 10 cent song rental model never gained traction and does not cover mobile devices thus is of little value to Apple. What is of value is the personal music storage service which was an often overlooked component of Lala’s business. As Apple did with the original iPods, Lala realized that any music solution must include music already possessed by the user. The Lala setup process provides software to store a personal music library online and then play it from any web browser alongside web songs they vend. This technology plus the engineering and management team is the true value of Lala to Apple.

An upcoming major revision of iTunes will copy each user’s catalog to the net making it available from any browser or net connected ipod/touch/tablet. The Lala upload technology will be bundled into a future iTunes upgrade which will automatically be installed for the 100+ million itunes users with a simple “An upgrade is available…” notification dialog box. After installation iTunes will push in the background their entire media library to their personal mobile iTunes area. Once loaded, users will be able to navigate and play their music, videos and playlists from their personal URL using a browser based iTunes experience.

Apple will link the tens of millions of previously sold iPods, Touches, AppleTV and iTablets to mobile iTunes giving users seamless playback of their media from a wide range of Apple branded devices. Since media will be supplied from the user’s personal collection, Apple is freed from the hassles of device and region limitations. iTunes shoppers will be able to continue to buy music and movies as they can now with purchases still being downloaded, but once downloaded they will be automatically loaded to their mobile iTunes area for anywhere access. Again because users are in possession of the materials no new licenses are required from the record labels or publishers.

Some are curious why Apple with thousands of engineers would need Lala talent and technology. For sure Apple could copy Lala technology, but time is of the essence and Lala lets Apple move faster in transitioning from their PC software business to a cloud service. They get a knowledgeable digital music engineering team, plus a code base to build upon which already does uploading and web playback. There’s precedence for this strategy. The iTunes software did not originate within in Apple but came via an acquisition. Finally, Apple gets the quick witted, brilliant, but occasionally loony Lala CEO Bill Nguyen who will play a future role in Apple. (Although one wonders how Jobs and lime light relishing Nguyen can co-exist.)

It’s critically important that technology companies build and maintain a core strength. This cornerstone allows them to command a significant portion of the profit stream and is a beachhead to launch other initiatives. Think Amazon/e-commerce, Microsoft/OS, Google/search, Apple/media. Jobs is keenly aware of the digital transition from PC to cloud centric programs and services. It’s imperative Apple lead in this transition or risk ceding leadership in media to others such as Amazon, Real, Microsoft, Yahoo, etc. Lala will help Apple protect their media franchise from encroachment by accelerating their cloud efforts. iTunes users can expect mobile iTunes in 2010.

 

January 14, 2010

Viral Videos - DJ Earworm 2009 Video Mashup

(* Source: Viralblog *)

 

Another year, another mashup. DJ Earworm created a mash up of the top 25 hits of 2009, according to Billboard; “United State of Pop 2009“. Last year, the DJ created the same kind of mash up for the year 2008. This video generated almost 2 million views. This year’s version, containing Lady Gaga, The Black Eyed Peas and Beyonce, got over 4.5 million views in just 1 week time on YouTube alone. So enjoy the best of 2009, in a little over 4 minutes, one more time!

 


A Mashup of the Top 25 Hits of 2009, according to Billboard.

http://facebook.com/earworm
http://djearworm.com

The Black Eyed Peas - BOOM BOOM POW
Lady Gaga - POKER FACE
Lady Gaga Featuring Colby O'Donis - JUST DANCE
The Black Eyed Peas - I GOTTA FEELING
Taylor Swift - LOVE STORY
Flo Rida - RIGHT ROUND
Jason Mraz - I'M YOURS
Beyonce - SINGLE LADIES (PUT A RING ON IT)
Kanye West - HEARTLESS
The All-American Rejects - GIVES YOU HELL
Taylor Swift - YOU BELONG WITH ME
T.I. Featuring Justin Timberlake - DEAD AND GONE
The Fray - YOU FOUND ME
Kings Of Leon - USE SOMEBODY
Keri Hilson Featuring Kanye West & Ne-Yo - KNOCK YOU DOWN
Jamie Foxx Featuring T-Pain - BLAME IT
Pitbull - I KNOW YOU WANT ME (CALLE OCHO)
T.I. Featuring Rihanna - LIVE YOUR LIFE
Soulja Boy Tell 'em Featuring Sammie - KISS ME THRU THE PHONE
Jay Sean Featuring Lil Wayne - DOWN
Miley Cyrus - THE CLIMB
Drake - BEST I EVER HAD
Kelly Clarkson - MY LIFE WOULD SUCK WITHOUT YOU
Beyonce - HALO
Katy Perry - HOT N COLD

Vevo now bigger than Myspace Music

(* Source: Erik Schonfeld *)

 


Erik says...

The biggest U.S. music service on the Web in December was Vevo, a new entrant which is a joint venture between Google, Universal Music Group, and Sony Music. Dubbed the “Hulu of music videos,” Vevo attracted 35.4 million unique visitors in December, 2009, putting it above the 33.1 million visitors who went to MySpace Music, according to estimates put out today by comScore. Considering that Vevo only launched on December 8, that is a pretty good showing.

A closer look at the numbers shows, that nearly all of that audience came from YouTube, which hosts a Vevo channel. Of the 35.4 million visitors which comScore counts for Vevo, 32.6 million (or 92 percent) are attributed to YouTube. In one fell blow, YouTube has helped to push MySpace Music from the No. 1 spot.

Not only does this illustrate the distribution might of YouTube, but it also shows how professional content is still hard to beat, even on YouTube. The Vevo channel is already the most viewed channel on YouTube, with nearly 13 billion views across all Vevo and all of Vevo’s sub-sites, which include the individual artist channels for Lady Gaga, Kings of Leon, Timbaland, and many others.

Here are the top ten music services as measured by comScore in unique U.S. visitors for December, 2009. The only real startup is Jango (No.7), with 9.6 million, but the comScore numbers include some lyric sites it also owns. ToneFuse Music, No. 8, is almost entirely a collection of lyric sites. Rhapsody rounds out No. 10 with 6.5 million (Last.fm would be No. 11 with 6 million).

Top U.S. Music Services On The Web (in unique visitors, December, 2009)

  1. Vevo: 35.4 million
  2. MySpace Music: 33.1 million
  3. AOL Music: 29.0 million
  4. Warner Music: 23.3 million
  5. MTV Networks Music: 17.6 million
  6. Yahoo! Music: 16.4 million
  7. Jango Music Network: 9.6 million
  8. ToneFuse Music Network: 8.3 million
  9. MSN Music: 6.6 million
  10. Rhapsody: 6.5 million

 

January 05, 2010

Pearl Jam Gives A Song Away For A Tweet

(* Source: MC Siegler *)

 

 

  Screen shot 2010-01-04 at 5.04.15 PM

 

MC says...

Regular readers may know my affinity for Pearl Jam. The band, which released a new album, Backspacer, last year had a series of promotions with MySpace to promote the album. Now they’re turning to Twitter for some more.

The band has teamed up with the digital media house Culture Jam to launch a new site that easily allows you to tweet about about the Pearl Jam song “Just Breathe.” This site is actually a simple application that gets your Twitter credentials via OAuth. In exchange for the tweet, you’ll receive a code that will allow you to download the song on iTunes for free. Specifically, it’s a live version of the song that was recorded at Austin City Limits this year.

This free song isn’t without a slight catch. Not only will you obviously have to send the tweet, but in small print on the site, you’ll see that by tweeting the message you will also automatically follow the @pearljam account on Twitter. Of course, if you’re tweeting this, you’re probably into Pearl Jam, and won’t mind following the account.

On the site, there is also a way to buy a digital copy of the single and you can enter to win a limited run copy of the new album on White Vinyl LP (there are 15 of them available).

Culture Jam does these types of promotions for a number of musical acts. The use of Twitter in this regard is smart because there is a very low barrier to entry. As we discussed yesterday, a growing number of brands and venues are using Twitter to trade free goods and deals for promotion on the service.

Screen shot 2010-01-04 at 5.04.04 PM

 

August 09, 2009

A New Sport for Music People - Gig Race

 

(* Source: Giles Fitzgerald *)


born3

 

Giles says...

Ted Baker’s new Born menswear range has launched a new campaign which will require dedication, stamina, and quite possibly ear plugs. In order to promote its new Born clothing range of shirts, polo shirts, T-shirts, and hoodies  - all aimed at a younger 18-24-year-old audience than its mainline brand - Born is setting a ‘Gig Race’ challenge. 

Contestants involved will have two weeks to attend as many gigs as they can, whilst blogging and twittering their exploits as they go. The eventual winner will walk away with £1,000 of Born by Ted Baker clothing and possibly a Guinness World Record for the most gigs attended in one week. As well as that Born has two tickets for his year’s sold out Bestival music event, featuring Kraftwerk, Lily Allen, Fleet Foxes and Massive Attack, to give away.

If you think you have what it takes to tackle this musical triathlon, then you can sign up via the link below.

www.bornbytedbaker.com

http://twitter.com/bornbytedbaker

 

August 06, 2009

Mika offers brand loyalty

(* Source: Giles Fitzgerald *)

 

“This is a great example of a label really nurturing a fan base and giving them genuine reasons to interact with each other and with the artist. In an age where the value of recorded music is hard to guarantee, a platform that rewards fans with richer content and money can’t buy rewards is bound to have cut through”

Dom Hodge

 

mika-large


Island Records Group and Casablanca Records are teaming up on a unique reward based online venture in support of Mika’s upcoming album. Mika is launching a loyalty scheme via his website which will enable fans to earn points that can then be traded for rewards. Points are awarded for creating a profile, uploading content, adding comments and buying products. Points can be used to acquire free music, video downloads, screen-savers and even a private acoustic gig from the artist.

“For over 3 years Island have been developing innovative community solutions for our artist sites. Now we are taking it to the next level with the fantastic platform Push Entertainment has developed for Mika’s Magic Numbers,” said Glenn Cooper Head of Digital, Island Records Group. “We are rewarding Mika’s fans for interacting on all levels by bringing them closer to the artist.”

Points can be accrued via CD, DVD and iTunes music purchases, plus selected official merchandise and ticket purchases will contain a Magic Number which can be redeemed for points. In addition a selection of “special events” will randomly appear in the Mika calendar –such as ‘Double Points’ purchases and ‘Bonus Points’ activities.

Island highlights that the concept has been designed to integrate “seamlessly into external Brand Sponsorship deals” – which would imply that they are eager to find sponsors for the initiative.

Mika’s second album ‘We Are Golden’ is released on 21st September.

So what?: This campaign takes its cue from the loyalty card model as depicted by the Nectar reward card system – which recently launched the Nectar Music Store offering up free music downloads in return for acquiring points whilst shopping. It also served up exclusive competitions and content from the likes of Dido and Alesha Dixon. This campaign ticks many of those same boxes, but makes it artist specific. It’s good to see a label providing a strong incentivised platform for fans to interact with the artist. Rather than a short term hit of free content, or a one off gimmick gig, this campaign aims for the long-term, building momentum and requiring fans to return again and again in order to catch limited offers. It also builds on the notion of working to acquire music which activates ‘value’ receptors in consumer’s brains – something they are missing from a simple P2P music grab. Getting the best from this platform means putting effort in, and effort translates easily into engagement. Although less altruistic than say Orange’s Rock Corps campaign it harnesses the same principles of fan involvement. Furthermore it creates a platform that can easily be harnessed by brand sponsors with minimum effort, working across a variety of mediums – online, mobile and live.


www.mikasounds.com

 

July 14, 2009

Use Setlist.fm To Collect And Share Track Lists From Any Live Performance

(* Source: Robin Wauters *)
 
 

 

It’s festival season, so this may be a welcome addition to the gigantic directory of music-related information websites and applications already out there on the Web, particularly for live gig buffs. Setlist.fm is an awesome free wiki site (although they prefer to call it a “wiki-like service”) that aims to become the biggest repository of live performance track lists with the help of music fans across the globe.

The good thing about Setlist.fm is that the goal is to collect the real setlists, meaning which tracks artists and bands actually play at live gigs rather than what the setlist says they will. If you have any basic knowledge about the live music industry, you know that those are two completely separate things.

To submit and edit setlists, you don’t necessarily need to register, although the startup behind the site recommends that you do. Once you add tracks for a certain gig, say Metallica’s performance at the Sonisphere Festival in Hockenheim, Germany from last week, the back-end of the system will automatically check the web for a playable stream of the tune, YouTube videos and the lyrics. The site will also auto-generate statistics for artists and bands (example for Metallica) which gives you a good overview of their performance history and what their most played songs at live gigs are.

Setlist.fm comes with a decent internal search engine and enables visitors to easily share the setlist in their Last.fm event review or embed it on their own website or blog. For example, here is the setlist of U2’s concert at Camp Nou in Barcelona, Spain from the beginning of this month:

U2 Setlist Camp Nou, Barcelona, Spain 2009, 360° Tour

As an aside, this is most probably the first project that we cover that hails all the way from the tiny nation of Liechtenstein. Which goes to show good ideas can come out of countries with less than 40,000 inhabitants too.

Nice one!

 

July 02, 2009

GDGT Social Network for Gadgets


(* Source: Mark Hefflinger *)

 

The founders of gadget news blogs Gizmodo and Engadget have teamed to launch GDGT, a gadget-focused online social network.

The site was launched on Wednesday by Pete Rojas, the founder of Gizmodo and co-founder of Engadget, and Ryan Block, the editor of Engadget.

The site will not produce original news content or reviews, as do Gizmodo and Engadget, but instead aggregate news and reviews, and allow users to post their own gadget reviews.

Users can also create profiles and list their stable of gadgets, as well as wish lists.

Block told The New York Times that the gadget blogs focus on only 5% of a device's lifecycyle, the "lust phase," while GDGT will address "the 95 percent of the time you own the product there is nowhere to go. We are building the place where you can live with your gadgets online in perpetuity." 

 

See site here

Michael Jackson Breaks Digital Song Sales Records

 

Michael Jackson has sold a record 2.6 million digital songs in one week, up from 48,000 a week ago, according to sales data compiled by SoundScan. The feat makes Jackson the first artist to sell over a million downloads in a single week.

The number includes both Jackson's solo work, and albums with the Jackson 5.

Jackson also holds a record 25 of the top 74 on Billboard's Hot Digital Songs chart.

The "Number Ones" album topped digital album sales over the past week, moving 108,000 units, while "The Essential Michael Jackson" sold 102,000, and "Thriller" sold 101,000. 

July 01, 2009

Samsung looks to new music TV generation

 (* Source: Giles Fitzgerald *)

 

 

Interesting how social networks have taken the old MTV formula and run with it...

 

samsungbebonights

 

Giles says...

Bebo and Samsung are teaming up on a new online TV initiative in order to promote Samsungs new Beat DJ Handset. As with previous tried and tested Bebo webisode models – Kate Modern, Sofia’s Diary, and The Secret World of Sam King -  the Beat series will follow a fully interactive pathway. Viewers will be given the chance to interact through blogs, upload track reviews, share music news and also be offered the chance to appear in the show itself. In addition Samsung and Bebo will also be running a nationwide promotion to find a co-presenter for the show. The deal will see Samsung promoting its new live venture, Samsung Bebo Nights, with an inaugural performance by White Lies and The Maccabees on 1st June.

Samsung have a long history dabbling with music - traditionally working with artists to endorse and support new product launches. In the past year or so they have used Girls Aloud, The Presets, Ozzy and Gabriella Cilmi. Not to mention signing up Lebanese singer Elissa as a brand ambassador and Korean singer Rain as their Olympic ambassador in China.  This new approach to supporting a series of live music initiatives such as Samung Bebo Nights is the first time they’ve branched out into what could be described as a marketing platform.

 

“Our belief is that credibility through association is tough to achieve, brands need to do something genuinely useful and interesting for the audience or they risk joining a long list of brands trying to absorb some ‘cool’. This new activity is a great starting point for Samsung, with appropriate partnerships in place, relevant products and creation of content at the heart of it all. It will be interesting to see how this unfolds”

Jack Horner, Creative Director, FRUKT

 

June 15, 2009

“Music Matters” To Asian Youth


music-matters-logo

 

A survey by market research company Synovate, presented during the 2009 Music Matters Asia Pacific Music Forum in Hong Kong, highlights a number of important digital trends in the Asian youth market:

—  IMPORTANCE: Music represents a significant part of cultural identity among the young in India (83%), the Philippines (80%), Vietnam (77%), China (69%), Thailand (67%) and Indonesia (65%).

LEADING MUSIC DEVICES: Computers are the leading device (32%) through which Asian youth listen to music followed by MP3 players (27%) and mobile phones (23%).

synovate-music-matters-survey-devices-used

MOBILE MUSIC: Over 50% of young mobile phone owners have used it to listen to music with the following countries leading the way: Thailand (70%), Hong Kong, China (63%) Vietnam (62%) and Malaysia and India (both at 61%).

— PAYING FOR MUSIC: Only 11% of young Asian consumers paid for downloads in the past month versus 41% who downloaded “free” music during the same period. Korea (20%), India (19%), China (12%) and Vietnam (11%) had the largest shares pf consumers paying for music while the largest share of unpaid downloads occurred in China (55%), Malaysia (50%), Vietnam (49%) and Hong Kong (47%).

Synovate surveyed 8,841 respondents aged 15 to 24 years in China, Hong Kong, India, Indonesia, Japan, Malaysia, the Philippines, Singapore, South Korea, Taiwan, Thailand and Vietnam.

 

May 21, 2009

The Thumbs Up With Pandora One

 

(* Source: MG Siegler *)
 

pandoraone

 

You’d be hard pressed to find someone who tries the online streaming radio service Pandora that doesn’t like it. In fact, some users like it so much that they actually ask for ways to pay the company, to make sure it stays alive (something that has been a question mark given the oppressive Internet radio licensing costs). And while there has been a limited subscription version for some time, Pandora has never proactively promoted it. But starting tomorrow it’s taking the freemium model seriously, with the launch of Pandora One.

The most obvious feature of Pandora One is the removal of ads from the site (this was the only feature of the previous subscription version) — that means not only the ads on the page but the in-stream audio ads as well. And there are five other keys to Pandora One that you get with your $36-a-year subscription price: The biggest one is access to a very solid Pandora desktop app. The others include high quality streaming, a personalized look, a mini player and extended player timeouts.

 

More here

 


May 14, 2009

AudioBoo Makes Podcasting With iPhone Dead Simple

(* Source:  Ben Parr *)

 

AudioBoo Logo

Name: AudioBoo

Quick Pitch: AudioBoo is social audio. An iPhone app & platform that effortlessly records audio to the cloud.

Genius Idea: AudioBoo is a platform that I’ve been waiting to review ever since I discovered it several months ago. It’s essentially a way to create and share podcasts and audio clips, but with a simplicity that has attracted some big names like UK actor Stephen Fry and The Guardian newspaper as users.


Listen!Review of Audioboo by Mashable Editor Ben Parr

First, the iPhone app: it’s very simple to use. The most important feature of the app is that you can record audio and upload it to the AudioBoo server and your account. This makes it very simple to create, publish, and broadcast your most recent podcast (also known as a boo). The second feature is the ability to listen to the most recent boos from other users.

AudioBoo Image

Yes, the iPhone app is very simple, but that’s the goal: to make podcasting really easy. Audioboo definitely succeeds in that regard. With very little fuss you can be up and running with your own podcast that can be distributed via social media - you can have AudioBoo automatically update your Facebook and Twitter with new Boos - and even iTunes.

The website itself is also pretty basic. You can only listen and subscribe to boos (although you can sort boos by popularity and time). But once again, this is the point: it’s the Twitter of podcasts - simple to use, easy to distribute. Its focus on simple audio is superb and perfect for anyone who wants to try podcasting without all of the fuss.

 


April 28, 2009

De La Soul Tie Up With Nike For An iTunes Special

(* Source: Anjali Ramachandran *)

 


 

Anjali says on PSFK...

Record labels don’t always have a smooth relationship with music artists. If a band chooses to release their music using alternative means, one of the most common assumptions is a) that their music wasn’t good enough to get them signed by a label or b) that they were difficult for labels to get along with. For established 20-year music veterans De La Soul, neither was the case. Releasing on iTunes tomorrow, De La Soul has partnered with Nike to bring us the “Are You in?: Nike+ Original Run,” 44-minute workout LP. This marks the return of the hip-hop trio to the music scene after a break of 5 years.

The album, part of Nike’s SportMusic range of music, is yet another example of the brand’s complete dedication to constantly reinventing themselves. Marketers have ventured into branded music before, but the SportMusic albums are different because they sell for $9.99 each, making them a revenue stream of their own accord. De La Soul have admitted to being approached by other brands, but say they went with Nike because they shared a common approach to the project. The group especially appreciated the fact that they were able to get feedback from Nike Plus runners.

 

 


 

April 01, 2009

Stealing Music: Is It Wrong Or Isn’t It?

(* Source: Michael Arrington *)

 

Mike says...

Music used to be so simple. You listened to it on the radio for free, but you didn’t get to say what would be played, and there were lots of commercials. If you went to a concert, you paid. And if you bought a record, tape or CD, you paid. People copied CDs to cassette tapes and passed them on to friends. That was just about as far as P2P music piracy got. Stealing music was when you shoplifted a CD or cassette from the record store, and it was pretty clearly understood that it was “wrong.”

Maybe that’s why so many people who are older than say 30 think that downloading music is ethically wrong. They remember that music is something that you pay for. They still download the music, of course. But they know they’re doing something they shouldn’t be doing.

But if you’ve discovered and come to love music in the last decade, I don’t see how you can be expected to know when listening to recorded music is ok, and when it’s wrong.

Let’s put the law aside for a moment - this post is about doing the right thing. We’ve been hammered with messaging from the government and the music labels that downloading or listening to music on the Internet is stealing, unless you pay for it. We see the video clips before movies at the cinema saying its wrong. We read about lawsuits against twelve year olds for downloading music from BitTorrent. Our government is even willing to threaten other sovereign nations over music piracy.

But over the last few years the line has blurred to the point where there really isn’t any line any more. We can listen to free, on demand streaming music at MySpace Music and lots of other sites. It’s ok to do it at MySpace, but it’s wrong to do it at Project Playlist, just because the right contracts aren’t in place? Just a couple of years ago anyone listening to free streaming music anywhere on the Internet was violating copyright and subject to being labeled unethical. Today, its no problem. And you don’t even have to listen to audio ads.

But downloading music, that’s still wrong, right? Nope. If you live in China, you can download music legally from Google for free. No problem.

Above I said I wanted to put the law aside for a moment. Now I’ll come back to it. Because the law, and particularly the U.S. government’s willingness to perpetuate the absurdity of copyright law as it applies to recorded music, is all that the labels have left. No one in their right mind could formulate an argument that downloading music on the Internet is “wrong” at this point. All the labels have left is the law.

Eventually the reality of the Internet will force the laws to change, too. One way or another the music labels will eventually surrender, and recorded music will be free.

Until it is, I refuse to feel guilty for downloading and sharing music. Every time I listen to a song, or share it with a friend, I’m doing the labels a favor. One that eventually I should be paid for. Until that day comes, don’t even think about trying to tell me that I’m doing something ethically wrong when it’s considered quite legal, with the labels’ blessing, in China.

 

March 30, 2009

The Sorry State Of Music Startups

 (* Source: Michael Arrington *)

 

 

Mike says...

 

Online streaming music startups are in one very sorry place. On demand streaming rates range from .4 cents to 1 cent per stream - this is what the startups pay to the labels every time they play a song for a user. Add bandwidth and storage costs on top of that, which aren’t trivial for services that want to stream music quickly on demand. The result is hundreds of millions of dollars flowing from venture funds to startups to labels. Little of it makes its way to artists, and advertising revenues only cover a tiny portion of the fees.

The labels don’t care if the startups make money, lose money or go out of business. All they want is to make enough money to extend the ultimate surrender date as long as possible. That’s when we’ll finally see the economic reality dictated by the Internet impose itself irrevocably on the music industry. Unless draconian laws are created and enforced that put people in jail, or worse, for file sharing. And even that probably won’t work.

Anyway, these crazy economics are making the music startups skittish. MySpace Music, the biggest player in this space, may be spending $2 million or more per week to the music labels based on their own statistics that they’re streaming over a billion songs a week. Their streaming rate is likely to be the best in the industry, and it almost certainly isn’t lower than .4 cents per song. There is no way that they’re making that much in advertising revenue.

The hope is that downloads, ticket sales, merchandise and ring tones will make up the difference, but what we’re hearing is that very little incremental revenue is being made from these other revenue sources.

That means there’s no chance for these startups to work until the labels reduce, significantly, the streaming rates they’re charging. Or agree to radically different business models. There’s no sign that is happening any time soon.

These crazy economics are making startups do odd things. I emailed one startup recently to suggest a post here on TechCrunch noting that they seem to be doing well - recent setbacks with partners didn’t hurt traffic as much as it may have, and I wanted to note that. The startup flat out asked me not to post, because they didn’t want positive press to impact their negotiations with labels. They had to present as desperate a situation as possible.

Read that again: streaming music startups don’t want more people using their service, because they lose money from every one of them, and the perceived success from having more users makes it harder for them to plead with the labels to give them better deals.

Then there’s imeem. A few days ago I had multiple conversations with the startup around rumors that they owed significant amounts of money to the labels that they couldn’t pay, and that they had failed to raise money or sell themselves. Not much information was shared, other than to say that the rumored $30 million owed to labels was too high. Now they tell VentureBeat that the number is in the single digit millions.

Whatever the number - $30 million or $1 million - imeem can’t pay it. Their business model doesn’t work and it is going to continue to not work until the labels let it work. And they aren’t going to be doing that any time soon.

Big Music Doesn’t Like Streaming Music

The big music labels don’t like streaming music because it doesn’t help them offset declining CD sales, and the evidence now suggests that streaming doesn’t lead to music downloads. Everything we’re hearing says that the labels would like to see streaming music startups just go away for now so that they can focus on maximizing paid downloads and extend that ultimate surrender date.

So when you hear about labels renegotiating streaming deals to help out music startups, be skeptical. They’re likely lowering the rates from 1 cent down to something closer to .4 cents per stream. And all that means is that these startups will bleed a little slower. But they’re still going to go out of business, because the venture firms are done investing in them.

 

February 23, 2009

How To Make Twitter Sound Like Music To Your Ears

(* Source: Robin Wauters *)

 

 

People generally love sharing things, and Twitter has made broadcasting updates to anyone who cares to care on what you’re doing, wearing, reading, commenting on, eating, using, etc. a breeze; in 140 characters or less, even. It’s only natural to see so many users also share which music they are listening to at any given moment on Twitter, as this has been a fairly popular use of status feeds on other social networking and communication services for years (Facebook, Skype and Windows Live Messenger leap to mind).

Here’s a number of ways to use Twitter for just about anything related to music:

* Blip.fm - dubbed the “Twitter for Music” when we first reviewed the service, it got its own API in late 2008. Blip.fm enables anyone to start their own music station and broadcast tunes to Twitter and other status sharing services where people can interact with the choice of music.

* Twiturm does much of the same - upload music and share it with all your Twitter followers in a heartbeat. Intended for artists who want to share their own music, hence the name (”Twitter Ur Music”).

* Twisten.fm - Escape Media Group linked its music discovery service Grooveshark and its URL shortening service TinySong with an application that crawls Twitter for messages about music (and “then you listen to them”).

* Twt.fm (anyone see a naming pattern here?) - type in an artist, track, and your twitter username. Twt.fm will then generate a track page for you using your twitter page design and you’ll be able to tweet it to your followers.

* Tweetj - include a #tweetj tag in your tweets when you’re listening to music and it’ll be posted to a public playlist. The playlist allows you to discover new music and immediately purchase tracks on Amazon.

* A similar service is WiiZZZ (yes, that’s the actual name) - it allows you to listen to entirely random songs that have been posted and shared by Twitter users on any given day.

* Play Twitter - allows you to easily play mp3 files directly on Twitter or Identi.ca. MP3 links will automatically become playable right on the page.

* Tra.kz - this “URL shortener for all things music” was cooked up by MixMatchMusic and does exactly what you suspect it would do and therefore competes with the above mentioned TinySong and alternatives like Song.ly.

* TwittyTunes - Firefox extension that comes with another Firefox extension, Yahoo’s FoxyTunes, and allows you to instantly post your currently playing songs to Twitter with just a click.

* LastTweet - enables you to embed a widget with your latest tweets into your Last.fm profile

Also worth checking out, even if not directly related to Twitter: Nabbit (”connects your cellphone to your radio”), MuseBin (music news and reviews in 140 characters, like Blippr but music only) and Twones (the “social music feed”).

Did I miss any other apps, tools and websites worth noting?

Share them in the comments and I’ll be happy to update the post.

Update: it’s not Twitter-specific, but you can use Favtape to put together your own playlists / online mixtapes and share them on Twitter.

 

February 16, 2009

The Death Of “Web 2.0″

(* Source: Robin Wauters *)

 


Robin says...

I’m not going to discuss the economic meltdown and its devastating effect on technology companies and internet startups in this post, but rather something that crossed my mind earlier this morning: “Web 2.0″ seems to become more and more a void (and an avoided) term. Of course, that’s not necessarily a bad thing, but it is definitely apparent.

So why do I say it’s fading? For one, because the number of startups that contact us and include the term Web 2.0 in the subject line or message is visibly dropping (and that’s a good thing), and I hardly ever see it mentioned anymore on other technology blogs and news sites either. That’s not really tangible, so I took a look at the number of mentions of the phrase across the web, and they seem to be decreasing significantly, reflecting my feeling on this.

Judging by Google Trends, which shows how often a particular search term is entered relative to the total search volume across various regions of the world (and in various languages), the term started being used at the end of 2004 when Tim O’Reilly organized the first edition of the Web 2.0 Conference. Search queries for the term started picking up in the middle of 2005, when TechCrunch was started - with the tagline “Tracking Web 2.0″ by the way - and the number kept increasing until the end of 2007. After that, the trend is clearly downwards, falling back to the level it reached in early 2006 today. If the trend continues, there should only be a handful of people left who scour search engines for “Web 2.0″ by 2011.

Also noteworthy: take a look at the geographic regions that have generated the highest volumes of worldwide search traffic for the term over the years - it’s Asia, with the top 5 regions being India, Singapore, Hong Kong, Taiwan and Malaysia (in that order). Furthermore, Google Trends pegs the number one language in which people search for stuff related to the topic of Web 2.0 to be Russian before English.

And just in case you’re curious: “Web 3.0″ doesn’t seem to picking up much.
Let’s all rejoice.

Google’s “Insights for Search”, a beta service that analyzes a portion of worldwide Google web searches from all Google domains to compute how many searches have been done for the terms you’ve entered - relative to the total number of searches done on Google over time - gives an even better overview:

 

 

February 09, 2009

MySpace Begins Monetizing Music Videos With Impressive Results

(* Source: Jason Kincaid *)

 

Jason reports...

In an effort to monetize the growing number of music videos on its site, MySpace has just launched a new pilot advertising initiative that places attractive overlays at the bottom of some clips, allowing users to buy the song they’re listening to or immediately jump to the artist’s homepage.

The new initiative stems from MySpace’s partnership with Auditude, a content detection and management company that can identify copyrighted content and serve relevant advertising, even on user-submitted video. Now Auditude is applying the technology to music videos, which in the past have largely relied on banner ads and static text links to music stores for monetization.

On Wednesday the site, in a partnership with Warner Music Group, placed an overlay ad on a video for My Chemical Romance’s cover of Desolation Row. Users were presented with the option to buy the song either on Amazon, or (in an interesting twist) on a vinyl disc. Over the 24 hours that the ad ran it posted an impressive 1.2% click-through-rate (significantly higher than rates seen on typical banner ads), encouraging MySpace and Auditude to expand the program to more videos. Today the site began displaying advertising on U2’s new single Get On Your Boots, with plans to expand the program more broadly in the near future.

Much of the overlay’s success probably stems from the fact that it doesn’t look too much like an ad - it actually shows informative content like the album the song came from, the year it was released, and a link to the artist’s profile. I wouldn’t say I like having it there, but MySpace could have done a lot worse. And frankly in the current economic climate it’s encouraging when companies can find advertising methods that actually work without being ridiculously annoying.


YouTube launched a similar program three weeks ago, allowing content owners to insert overlays for products into their videos (MySpace’s overlays are significantly more attractive, but they both serve the same purpose). YouTube wouldn’t provide any exact numbers, but a representative confirmed that in general the site has seen significantly improved clickthrough rates when ads are embedded in videos themselves, as opposed to appearing in surrounding banner ads.

 

January 12, 2009

Britney Spears Is Hiring An Online Media Manager

(* Source: Mike Arrington *)

 

Great article from Mike... with so many social networks out there today.  Keep up with all of them requires more people. Digital P.As anyone? 

 

 

Want to manage Britney Spears’ online persona? She’s on YouTube, Twitter, Facebook, MySpace and other sites, and somebody (not her of course) has to do all the hard work of posting and responding to content.

That’s where you come in. If you went to Harvard, that is. Brandcasting Unlimited, Britney’s online manager, posted the job listing below for “Britney Spears 2.0 Media Manager” yesterday on a Harvard-only private job board. Among the not-so-tough job requirements: you must be “addicted to social networks such as MySpace and Facebook.”

The full job listing is below:

 

January 08, 2009

MOG Has Created The Ultimate Streaming Music App

(* Source: Michael Arrington *)

 

Sounds like another great music application only to be held back by those people that promote music called "The Labels".

 

Mike says...

MOG has a history of doing cool new things around music. The service today includes a media player plugin that records and analyzes your music habits, a website that has a dedicated page for every artist, album and song with user generated reviews and posts, and an advertising network that provides revenue for 300 top music blogs. Users can also stream music via an excellent front end to Rhapsody.

All of that brings about 5 million unique visitors a month to their network, and the company says they should bring in about $5 million in revenue in 2009.

Now they’ve created a new music streaming product that breaks away from Rhapsody and its limitations. Like competitor ilike, which also uses Rhapsody, users can only stream 25 songs per month for free. That doesn’t compete well with free streaming services like MySpace Music, iMeem, Last.fm and others.

The new service, dubbed Mog 3.0 internally, is a fully free music streaming service that lets users play whatever songs they like on demand. The user interface is as good or better than LaLa, a service that we love despite the fact that streaming isn’t completely free. Founder David Hyman and VP Product T Jay Fowler gave me a demo of Mog 3.0 earlier today.

The service combines the ease of use of LaLa with free, which is enough to get our attention. But it also has a recommendation service that rivals Pandora when it comes to discovering new music.

 

 

The interface is genius. Users search or browse songs, artists or albums and then start listening to the music. More songs from that artist are suggested and added to the results as you play the songs. And if you move the slider to the right (see image to right), related music is added as well. That lets the user decide if they want a playlist-driven on demand music experience, or to change things up and add Pandora-style related music to the mix.

It doesn’t stop there. Users can also create playlists with the best tool on the market - it’s easier to create and share playlists than even Project Playlist offers, and users can associate a name, description and image with each playlist as well.

MOG plans to make other changes to the service as well, including adding streaming music to content pages, and creating user profiles that highlight the music you listen to and like. It brings in the best social aspects of Last.fm.

The product is compelling.

But it will quite possibly never launch.

MOG has label deals with Sony BMG and Universal locked up. They’ll provide streaming music rights for free in exchange for a revenue share. But Warner and EMI remain on the sidelines, and MOG says they won’t launch unless and untill they have all four major labels under agreement.

I, for one, really hope to see MOG 3.0 launch sometime soon. And if the last two labels don’t jump on board, MySpace should strongly consider buying MOG. MySpace has label deals locked up but their product continues to have unacceptable technical glitches. The music player is very slow to load and songs have an annoying tendency to skip during playback. Perhaps the MOG team can put that right for them.

More screen shots below - top image is the playlist tool, below that is a user profile page.


 

January 05, 2009

How To Try Spotify Immediately, No Matter Where You Live

(* Source: Michael Arrington *)
 

New European streaming music service Spotify, which TechCrunch UK has been tracking since October, is getting increasingly good reviews. Spotify is a downloadable client for Windows and Mac users that lets you search, browse and stream a deep collection of music. Sadly, it is only available in the UK, Sweden, Finland, Norway, Spain and France and you need an invitation to join (InviteShare is actively trading them).

The user experience is beyond even the best web based streaming services like LaLa, MySpace Music and Imeem. It acts like a fully stocked iTunes, with everything hyperlinked to easily find related music. Creating playlists is a snap. There is no way to move music outside of the application, or onto music devices. But it is the best way to legally find and stream music for free that I’ve seen

I have no invitation and I live in the U.S., but I’ve been using Spotify all afternoon. There have previously been posts on getting into the service from a banned location once you have an invitation using a proxy server. Today on Digg, though, a commenter left instructions on how to use Spotify without an invitation. I tried it, and it works (for now).

Invite yourself from anywhere:
1) go to http://www.daveproxy.co.uk/
2) enter the following URL: https://www.spotify.com/en/get-started/
3) Create your account, for UK postcode - check http://www.postcodesearch.org.uk/

It’s likely that the proxy server will be banned shortly, but there are countless others in the non-banned countries. The important thing is to visit this URL from that proxy server. And I recommend you do it now, before the hole is plugged.

 

December 02, 2008

Songbeat Makes Searching For Music Online Really Simple

(* Source: Robin Wauters *) 

 

 

Robin says...

There’s a new version of Songbeat, a simple but powerful desktop application for discovering music online, and I like it. When it was first released earlier this year, the client only enabled you to search for music online using Seeqpod, but the updated version lets you search more engines at once and also lets you easily play, export and download songs.

The music industry will be interested to know that the new iteration of Songbeat supports integrated search for Seeqpod, Project Playlist, SpoolFM, iASK ‘and more’. You can use the client to listen to music over the web, or listen and record straight from Last.fm. Music files can be directly exported to iTunes, Windows Media Player and Winamp or burnt on a CD, and you can download tracks or albums straight from the internet, or even a complete genre or artist thanks to integration with Mixtape. Songbeat even automatically tags your music files with lyrics and album cover art when you download them from the net.

The German company behind the Songbeat player offers the desktop app for free, so you can find and listen to as much music as you want, but you can only download 25 times. An upgrade would cost you 19.99 Euros (or $ 29.9), for which you’d get unlimited downloads.

Note that it only works on Windows XP and Vista for now. A Mac and iPhone version are under development, and should be ready by the end of the first quarter of next year.

 

November 25, 2008

Britney’s Back: New Album “Circus” Debuts On imeem

(* Source: Jason Kincaid *)

 

It's interesting to see how major acts are now heading to these web2.0 sites as a launch pad.

Jason reports...

Pop sensation-turned-tabloid punching bag Britney Spears is ready for her comeback. Britney has just released her new album Circus exclusively on imeem, where you can stream the album in its entirety for free (you’ll also be able to embed the album playlist anywhere you’d like). The downloadable/physical version of the album won’t be available until December 2nd, but you can currently pre-order it through imeem and a number of other stores.

The exclusive album launch marks a big win for Imeem, which also recently launched Lil Wayne’s latest mixtape, Dedication 3. The site seems to be in a heated battle for album launches with MySpace Music, which has also launched a number of high profile albums in the last few months, including Guns N’ Roses’ first album in 17 years, Beyonce, The Cure, Oasis, and a number of others. imeem’s Matt Graves says that one advantage imeem has over MySpace Music is its embeddable playlists, which makes it easier for albums to go viral as they get embedded on blogs across the web.

As with every major album release these days, Circus was leaked and has been available on a number of pirate sites since at least last week (some albums have been beaten to the punch by months, so it could be worse). These leaks do take some of the luster away from album launches, but there isn’t much the record labels can do beyond changing their distribution methods or bumping up release dates when there is a leak (which is what happened to Britney’s last album).

In other news the pop princess has also managed to lay claim to the Twitter account BritneySpears, in place of her old account therealbritney. Since joining us on Twitter in October Britney has racked up over 9000 followers after a meager 42 updates.

 

Listen here

October 06, 2008

MySpace Music Streamed Its Billionth Song “A Few Days” After Launch

(* Source: Michael Arrington *)
 
 

 

Michael says...

It took iTunes nearly three years to get to 1 billion song downloads. MySpace Music streamed a billion songs in just a few days after it launched on September 25. And while this isn’t a fair comparison (songs on MySpace are free to stream; on iTunes users were paying $0.99 each), it’s an incredible milestone.

What MySpace won’t say for some reason is what the billionth song was, or when exactly it was streamed (which would be nice for trivia purposes). But they are confirming that the billionth stream was initiated sometime last week, just a few days after launch. They are also issuing a rather convoluted statement:

We’re extremely pleased with the launch of MySpace Music—clearly our users around the world are engaged and excited about the new music experience on MySpace. We’ve hit some incredible milestones in only a few days—some of the numbers you’re reading about are already out of date.

We can confirm that we hit a milestone of one billion music streams in only a few days after launching the new product however because this number may be inflated by the high profile launch and accompanying promotional push, we will be looking to our metrics on engagement and unique users which will tell a much richer story on how positively the community is responding to the new music experience. We will continue to keep you posted on the response to MySpace Music.

MySpace Music’s impact on the music industry won’t be fully understood for months or years (here’s our prediction). But one thing is certain - they are streaming a ton of music to users. The labels, which own part of the joint venture and are also paid per stream, must be very happy.

 

October 02, 2008

Why The Online Music Industry Should Move To a Rev-Share Model

(* Source: Erick Schonfeld *)

 


 

Erick says...

Memo to the Copyright Royalty Board: a bigger pie fills more bellies. Tomorrow, the three-judge panel that sets rates on music copyright fees is scheduled to announce new rates on digital music downloads for the next five years. The fees, which go to music publishers (the actual owners of the copyright to each song), are currently set at 9 cents per track. Music publishers want to raise that to 15 cents per track. Apple has vaguely threatened that it might have to shut down iTunes if the new rates go into effect (yeah, right).

Apple still controls about 85 percent of the digital download market, but these fees are also being paid by Amazon, Rhapsody, MySpace Music and others. The music publishers (who are often the artists themselves) want to future-proof their cut of the action and thus want to lock in as high a rate as possible. Apple and the record labels are arguing that the rates should be changed from a flat fee per song to a percentage of revenues. Apple wants to pay 6 percent of revenues, while the labels are suggesting 8 percent. Since, in the case of iTunes, this percentage would come out of the current 99 cents charged for each track, it actually amounts to a reduction in per track fees (6 cents and 8 cents respectively).

On its face, it looks like Apple and the record companies are once again trying to stick it to the little guy (artists, song writers, and other music publishers). But in this case, Apple and the recording industry are actually right. Music on the Web is currently crippled by the fees set by the Copyright Royalty Board (not just for downloads, but for streaming Internet radio as well). As it is, Apple pays 70 cents from each track sold to the record companies (which then pay the music publishers their cut). There is not much margin left out of which to take that extra 6 cents, and charging $1.05 per track will have an impact on sales.

Moving to a revenue-sharing model makes a lot more economic sense. That way digital music sales has more breathing room to establish itself, and the artists will be able to grow with the industry. Eight percent of a bigger pie is better than nine percent of a smaller one. Rather than focus on how much each publisher gets per track, the Copyright Royalty Board should try to maximize the total amount of fees that publishers will get. A rev-share model is the way to go.

 

September 30, 2008

Stanton’s DaScratch Helps Kill Vinyl

(* Source: Dan Gould *)

 

Dan from PSFK says...

Vinyl is dead. Long live vinyl! Now, it pains me to report this, because records are great, but it seems like it may be the end of the road for the media format (at least as far as a DJ staple). Stanton has released the DaScratch media controller which is one of many new ways to control digital music. The multi-functional device lets DJ’s control playback of music files using popular programs, including Serato, Traktor and Ableton. DaScratch can manipulate music files like a traditional turntable but also adds in effects, eq controls and loop trigger buttons. Look for more devices like this to become the new standard for DJs, as they open up new creative possibilities.

Stanton - Enter the System

[via Hack a Day]

 

September 23, 2008

SanDisk to sell music on memory cards

(* Source: Michal Lev-Ram *)

 

Michal says...

Here’s a novel invention: A thin, portable piece of hardware that stores digital music. No, it’s not a compact disc – it’s a microSD card, a fingernail-sized memory device that fits into that tiny slot on the side of your cell phone.

On Monday flash memory maker SanDisk announced an initiative called slotMusic, which will store songs on the small cards. Top record labels EMI Music, Sony BMG, Universal Music Group and Warner Music Group are also backing the new music format. While microSD cards are nothing new, this is the first big push to put pre-loaded content onto memory cards, which SanDisk and its music industry partners are hoping will help revive the ailing music industry.

The DRM-free, mini-devices do have more going for them than CDs, whose sales have been declining. For starters, microSD cards can be plugged into a range of devices, including cell phones, MP3 players, PCs and even some personal navigation devices. The 1GB (gigabyte) cards will be able to hold an entire album, in addition to liner notes, videos and album art. But in an age when more and more people are getting their tunes online, will consumers want a new version of the CD?

Daniel Schreiber, general manager of SanDisk’s audio and video division, says a company-sponsored survey showed 74% of people still value a tangible form of music they can stack and carry around with them. What’s more, says Schreiber, slotMusic will appeal to people who don’t want to deal with creating playlists online and downloading songs to devices. “It’s incredible how high a barrier these [online music] services have for taking music on the go,” says Schreiber, adding that slotMusic was made to be as easy as slipping a disc into a CD player or “buckling a belt.”

But Michael McGuire, an analyst at research firm Gartner, says he’s not sure bundling albums into a physical format makes much sense as a long-term business model, given the direction music consumption is heading. “Consumers are getting used to controlling their music [through online playlists],” says McGuire. “But the industry is still trying to push this concept of bundling more stuff into a physical package.”

And like any new digital music initiative, success will at least partly depend on getting the price right and being able to offer a wide enough selection of artists – SanDisk refused to provide details on both of these questions, saying only that more information would be revealed in coming weeks.

SlotMusic cards will be available in Wal-Mart and Best Buy stores later this fall.

 

September 22, 2008

Favtape Relaunches As Muxtape On Steroids

(* Source: Jason Kincaid *)

 

It has been just over a month since Muxtape, a popular music site that let users share the online equivalent of cassette mixtapes, was shut down by the RIAA for copyright infringement issues. Since then we’ve seen the site reborn in a few incarnations, including an Open Sourced version called OpenTape. Now Favtape, a basic music site that launched last July, is releasing an overhauled new version that has led developer Ryan Sit to appropriately call it “Muxtape on steroids”.

Favtape originally launched as an enhanced frontend to Seeqpod that let users import and listen to full versions of songs from their Last.FM and Pandora playlists. The site’s interface is similar to Muxtape, sporting a very basic layout and a sparse feature set. At the time I commented that the site was too simple - there was no easy way to rearrange a playlist, and there were few features other than audio playback.

The new version of the site addresses these issues, and introduces a host of new features that make the site a worthwhile replacement to Muxtape. Users are now free to rearrange songs on their playlists, and can easily share their Favtapes using a static URL (You can see the one I made here). Other new features include links to music videos for each song, album art, an embeddable player, and playlists of top songs from Billboard charts and iTunes. The new site also supports a mobile interface for the iPhone, so you can listen to your playlists on the go.

One of Favtape’s biggest advantages over Muxtape (but also its main weakness) is its heavy reliance on Seeqpod, a music site that indexes music files across the web but never hosts them. Unlike Muxtape, which asked users to upload their favorite music files to generate a playlist, Favtape is only including links to these files, so it should theoretically be harder to target with lawsuits. That said, if a lawsuit ever brings Seeqpod down (and they have already tried), Favtape will be left an empty shell.

Other sites in this space include Songza, Snuzu, and Streamzy.


 

August 08, 2008

Warner Music to rhythm games: pay up or the music gets it!

(* Source: Nate Anderson *)

 

Nate says... 

Oh, for the return of the 80s! The US went mad for synthesizers, leggings, and Reagan, while music executives went mad for Beemers and blow. But the major labels have been hemorrhaging cash and jobs for years now, and the Beemers and blow are sadly reduced to a Prius and a six-pack of Milwaukee's Best. But the older execs remember the coked-up glory days of the business and hope to see music industry profits rise resurgent; sadly, for gamers, the major labels are now hip to rhythm games, and that means one thing: they want more money to license tracks.

Warner Music Group chief Edgar Bronfman said as much yesterday in WMG's earnings conference call with reporters and analysts. "The amount being paid to the music industry, even though their games are entirely dependent on the content we own and control, is far too small," he said, according to Reuters. And, according to PaidContent, Bronfman went on to say that, "Unless there is a real partnership [i.e., more money for us] among game marketers and artists and labels, WMG will be hesitant about going further to license its music for video games."

Where have we heard this before? iTunes, of course. The labels have in the past been outspoken critics of Apple, as it built a hugely-profitable iPod business on "the backs of our content," and all the labels got out of it was a 70 percent chunk of the iTunes store revenue. The big money, though, was in those shiny devices, and without the music to play on them, iPods would be worthless.

The same kind of thinking is applied to video games now that it's clear just how many units of Rock Band and Guitar Hero can be moved for $100 or even $200, and then there's all that downloadable content.

But just like with Apple, the games market is a two-way street. Apple offered labels something they didn't have before—a successful, well-designed digital music presence with DRM that didn't make customers want to just go out and buy CDs instead. iTunes became a big chunk of major label digital sales.

We see a similar effect developing with rhythm games. The games now sell so well that inclusion in the track listing isn't just good for the games, it's good for the bands. As our own Ben Kuchera pointed out recently, new versions of both major series will ship with built-in music stores, and big-name classic rock acts stand ready to rake in the dough. Newer bands, whose work may show up as bonus tracks or unlockable content, can get a huge promotional boost from simply being in the game (personally, I would never have purchased Eisenhower by The Slip had not "Even Rats" been included as a bonus track on the original Guitar Hero).

Bronfman's comment is part of the posturing that goes on in these negotiations. Warner certainly doesn't gain much from being locked out of the rhythm game market, but Bronfman's comments clearly indicate a willingness to drive much harder bargains now that the format has proved itself.

More here

 

 

August 01, 2008

Tap Tap Revenge Approaches 1 Million Users, Music Industry Takes Notice

 

(* Source: Jason Kincaid *)


 

Jason says... 

Tapulous, the company behind Tap Tap Revenge, has announced that the popular iPhone app will hit 1 million installs some time this weekend. The app is the second we’ve heard from to hit the milestone (Facebook reached it last week), and is another testament to the extremely rapid growth some applications have seen on Apple’s newly launched App Store.

Tapulous CEO Bart Decrem says that the application has been downloaded about 900 thousand times since its launch, and expects to hit the 1 million user milestone over the weekend. Tapulous’s iPhone Twitter client Twinkle is significantly less popular, with around 80,000 installs, but it was released after Tap Tap Revenge. Decrem notes that there is a total install base of about 5-6 million iPhones and iPod Touches running the 2.0 firmware (which is compatible with the App Store). With about 1 million downloads, this puts Tapulous applications on around 20% of all devices - a very impressive feat.

One of best features in the original version of the game (which was only available on hacked iPhones) was that users could create tab sheets and play the game with any song in their iPhone’s library. Unfortunately, Apple prohibits any developer from accessing the iPhone’s library with a native application, so Tapulous has been forced to come up with a different way to introduce new content to the game. For the time being they’re offering free downloads of new songs directly through the app, but these songs have all been submitted to the company by indie artists (impressively, 2.5 million songs have been downloaded so far).

As it turns out, a number of record labels have taken notice of Tap Tap Revenge’s quickly growing install base, and are eager to use it as a means of exposing users to new music. Decrem says that the company is in talks with both indie and more well known artists to create a premium package of songs, which will likely be released in the App Store as a separate game for a small fee. Subsequent packages will also likely be released as their own independent games, as Apple does not currently offer a way for developers to sell new content from within an application.

 

July 29, 2008

The Japanese Mobile Music Difference

 
(* Source: eMarketer *)

 

It's not just the phones.

Many mobile carriers and music labels are taking a closer look at Japan to find situations in which better marketing is leading to better mobile music outcomes.

In August 2007, the Japanese band GReeeeN became the first music group in the world to sell over 1 million full-track downloads of a song over mobile. Their single "Aiuta" ("Love Song" in Japanese) was released in May 2007 as a full-track download for mobile, eschewing a CD or even online digital first release. Using nontraditional marketing through the Internet, social networks and word-of-mouth, "Aiuta" sold more than 3 million ringtones, ringback tones and ring videos in addition to its platinum-selling full-track release.

GReeeeN is not an anomaly in Japan. In 2007, Utada Hikaru's song "Flavor of Life" sold 7.2 million digital units—mainly master ringtones, ringback tones and full-track downloads—while her CD only sold around 660,000 physical units.

EMI Group initially marketed "Flavor of Life" as a mastertone to tie in with the launch of a TV drama. "Flavor of Life" also hit numerous social media channels through the release of a blog tag, which enabled users to post the video into their personal blog pages. In one 30-day period, the video played over 600,000 times.

Music acts such as GReeeeN and Utada Hikaru have embraced the mobile phone as their leading distribution and monetization channel. According to the Recording Industry Association of Japan (RIAJ), mobile music accounted for 92% of all digital music sales of ¥75.5 billion ($641 million) in 2007. Particularly noticeable was massive growth in full-track downloads, which accounted for 46% of overall digital music revenues, according to the RIAJ. Within the mobile music category itself, revenues from full-track downloads overtook revenues from ringtones in 2007.

Digital Music Sales in Japan, by Format, Q1-Q4 2007 (millions of ¥)

The RIAJ reported that full-track mobile music downloads in Japan grew by 48% in Q1 2008 compared with Q1 2007. The revenues from those downloads increased by 58%. In contrast, ringtone volume dropped 16%, with revenues declining by 13%. However, ringback tones continued to gain in popularity, with volume growing 18% and revenues increasing by 47%.

Digital Music Sales in Japan, by Format, Q1 2008

Smart innovations play an important role in Japan as well.

Japanese consumers typically purchase mobile music via direct debit to their monthly phone bill. Aside from ease-of-use, tethering music consumption to the monthly bill is necessary in a country with historically low credit card use. (Credit cards account for 8% of consumer purchases in Japan compared with 25% in the US.)

"Conditions across the world differ widely, but the ease with which Japanese kids can legitimately get music on their phones, which also offer them other services they want, is a good pointer to the future for other countries, " said Max Hole, president of Universal Music Group Asia-Pacific, in a December 2007 issue of Billboard Magazine.

Japan's record labels have simplified mobile music distribution through Label Mobile, a jointly owned company. Launched in 2001, Label Mobile is the leading provider of mobile music content to Japan's mobile operators.

This one-two punch of simplicity at both the consumer and industry levels is as much a part of Japan's mobile music story as its 3G networks and dazzling phones.


 

Atlantic Records Launches Fanbase Desktop Application

(* Source: Mark Hefflinger *)

 

Finally... Alantic are doing something that is making sense in the music label world.  Taking cues from what the people that are looking for music are doing online. Maybe their should have a version that works online as well...

 

Mark reports... 

Warner Music Group's Atlantic Records on Monday launched Fanbase, an interactive desktop application that includes a music player, chat, and data on Atlantic artists that is pulled from a variety of websites. The application is based on Adobe AIR technology, and uses an integrated player from social music service imeem, chat from Meebo, and videos from YouTube and Brightcove. The download will be available from Atlantic's main website, as well as from the sites of participating artists, including T.I., Simple Plan and Shinedown.

 

http://www.atlanticrecords.com

 

July 28, 2008

Bad News For MySpace: Growth Curve Flattened. Good News For MySpace: It's A Real Business

 

murdoch-and-tom.jpg

 

Bad news for Rupert Murdoch: Goldman Sachs figures his Internet business is worth perhaps $3 billion -- about half the value he was trying to get for it earlier this year. The good news: Goldman didn't generate its numbers by placing a value on the eyeballs that MySpace and the rest of Fox Interactive Media have attracted, or even the revenue they're generating. Instead, Goldman derived its estimate based on FIM's earnings. That is: MySpace and the rest of Murdoch's Web properties are now a real business, making real money.

That's worth remembering as we enter the late stages of the Web 2.0 boom, where buyers and sellers are still scrambling to place a value on revenue-light, or revenue-free, startups like Digg or Twitter. Murdoch and company have been dinged -- fairly -- for failing to deliver on aggressive revenue and earnings targets the company set out a year ago. And they're still struggling to convince advertisers to pay up for the billions of page views they generate.

But even if it's not what Murdoch had hoped for/promised, there is real money there: Analyst Mark Wienkes figures FIM (mostly MySpace, but also Photobucket, IGN, etc) is going to generate $155 million in EBITDA in (calendar year) 2008. At a 15x multiple, that's $2.3 billion. At 20x, $3.1 billion. That's about 2x what he spent acquiring the properties in the last few years. And Mark sees MySpace's top and bottom lines marching steadily upward (note that the chart below is for News Corp.'s fiscal year, which turns over every July).

myspace estimates.png

The disappointment for Murdoch are those year-over-year growth numbers -- cable guys, not go-go Web companies, are the ones that are supposed to be delivering 12% growth. But it's been clear for some time that MySpace's US audience has peaked, and that it's going to be fighting very hard against Facebook and other competitors for international eyeballs.

myspace growth.png

But take a look at the first chart again: Those 2011 numbers, where FIM is merely posting a 12% revenue gain? Those are numbers Goldman thinks FIM can achieve after its current $900 million, three-year contract with Google has expired. That is, they're based on real advertisers paying market prices for a mature site. Those aren't blow-your-socks off numbers. But in a couple of years, after an ad recession and a reckoning about what various hot-shot Internet properties are really worth, a company with real revenue, and real profits, might be something to brag about.

 

Avril Lavigne's $2 Million YouTube Payday: Not Coming Soon

avril youtube.jpg

Peter says... 

Conventional wisdom on YouTube: Eyeballs go in, but no money comes out. Google can't figure out how to sell ads against the videos it shows, so the people who make YouTube's videos aren't getting any money out of it.

Not true, says Terry McBride, who runs both a music label and management business under the umbrella of Nettwerk Music Group: There's plenty of cash. For instance, he told a London music conference this month, pop star Avril Lavigne, who Terry manages, is going to make a mint:  There’s about a $2 million cheque waiting for her for all her YouTube plays.”

How's that going to work? We called Terry to ask. The answer: He's not quite sure.

Here is Terry's basic math: By his count, Avril has already generated some 200 million streams on YouTube. He thinks, but doesn't know, that YouTube is paying out between $0.005 and $0.008 in revenue share each time it streams an officially licensed video. If YouTube is paying out 0.8 cents per stream, it means it is already on the hook for $1.6 million. And Avril will certainly keep cranking out videos, and streams, for some time to come. So there's definitely money there.

Video tracking service TubeMogul confirms Terry's estimate of Avril's YouTube popularity. In fact, it says, that 200 million number only accounts for officially licensed stuff -- if you include grey area clips, like those of kids lipsyncing to her songs in their bedroom, the total is closer to 1 billion. And Terry's 0.8 cents per stream estimate seems plausible: Guesstimates place YouTube's CPM at $15, which means it is generating 1.5 cents for every stream it generates. It may well be giving up half of that to content creators/rights holders.

But even those rough estimates are full of uncertainty: In addition to not knowing YouTube's aggregate revenue payout, Terry doesn't know how that money will be split between various rights holders: Avril's publisher, Avril's record company (Sony BMG) and Avril herself. He'll start to figure out some of that once he starts to see actual royalty statements. None of this going to happen anytime soon, Terry says: He figures Avril is another 2 to 3 years from seeing a significant payout.

So to sum up: Avril Lavigne's manager thinks she will get some money, some time, from YouTube. That's not as dramatic as the prospect of a $2 million check. But Terry says that no matter what the sum is, his larger argument is correct: Music acts should stop thinking of YouTube as little more than a promotional machine, and start thinking of it as a revenue stream.


 

July 22, 2008

Favtape: Full Playback For Your Favorite Last.fm And Pandora Songs

 

(* Source: Jason Kincaid *)


One of the most frustrating things about online music services like Last.fm and Pandora is that they don’t allow users to play back songs in their entirety on demand. The sites have made some progress in the last few months (Last.fm introduced full-song playback for some labels in January and iLike implemented it this morning), but for the most part these features are still limited by the agreements each site has forged with record labels.

Today sees the launch of Favtape, a new mashup that mixes Pandora, Last.fm, Seeqpod, and Slinkset to offer full playback of your favorite songs on demand, without any limitations. The site was created by Ryan Sit, one of the developers behind blog/lifecasting service Swurl.

Favtape pulls your Favorites (or “Loved”) list from Pandora and Last.fm and generates a playlist that contains full versions of each song. The interface is overly basic at this point - you can start and stop the song by clicking on its title, but there’s no way to rearrange them to create a new playlist. Below each song is a list of related links that allow users to purchase the song, view lyrics, and see a list of similar artists. Favtape will initially generate revenue through the links to iTunes, Amazon, and Ringtones displayed under each song.

The site also features a Digg-like “Discovery” option that allows users to vote on the best playlists. Unfortunately, there’s no way to actually tweak your playlists to make them more appealing without modifying your “Favorites” from Last.fm or Pandora. This lack of playlist customization is frustrating, but will likely be added soon.

Favtape makes heavy use of the Seeqpod API, which it uses for song playback and recommendations. While this presumably will help Favtape avoid any legal trouble (it isn’t actually hosting any music), it is also making it totally reliant on a service that is on shaky ground. Seeqpod isn’t hosting any music either (it crawls the internet searching for files hosted on other servers), but that hasn’t stopped the lawsuits from coming. For the time being, though, Favtape offers a great way to listen to your favorite songs without paying a cent. A simialr site that relies on Seeqpod (but doesn’t auto-generate playlists) is Streamzy, which we covered earlier this month.

 

Mobile Music Searches for Hit Formula

(* Source: eMarketer *) 


"I heard it through the grapevine…" or maybe on my mobile phone.

The music industry is learning a hard lesson: The mobile platform works better as a marketing and customer relationship tool than it does as a retail sales channel.

"Bands and artists are increasingly using mobile to form direct relationships with their fans that are then monetized through other means, such as tickets to live shows, merchandise and fan clubs," says John du Pre Gauntt, senior analyst at eMarketer and author of the new report, Mobile Music: Ads to the Rescue. "In addition, given consumers' reluctance to pay for music on their phones, marketers are finding new opportunities to partner directly with carriers, labels and even music artists themselves."

It's not that there won't be mobile music sales, they just won't be as large as many in the industry hoped for.

eMarketer forecasts worldwide mobile music retail revenues will grow from $2.4 billion in 2007 to over $13 billion by 2012.

To replace the drop in CD sales, alternate revenue streams must be developed.

"Marketers will account for a greater proportion of that overall spending as the ad-supported model for mobile music gathers steam," says Mr. Gauntt.

eMarketer expects marketers will spend over $1.5 billion in 2012 to subsidize or sponsor mobile music to targeted customer demographics, up from $42 million in 2007.

 

Music Service iLike Tops 30M Users, Adds Full-Song Streams

(* Source: Mark Hefflinger *)

 

Mark reports...

Social music discovery service iLike announced on Monday that it has surpassed 30 million registered users, and said it signed a deal with RealNetworks to offer full-length song playback via that company's Rhapsody service.

The Rhapsody full-song streaming feature -- which caps plays at 25 songs per month -- will soon be made available on iLike's Facebook application as well.

The company is also planning to enable music syndication via third-party developers starting in the third quarter.

Seattle-based iLike further announced the launch of a new self-service advertising platform, which concert promoters, venue owners, booking agents and independent bands can use to reach its users.

 

July 16, 2008

Pandora Usage Stats Prove It’s iPhone’s Killer App

(* Source: Jason Kincaid *)


Pandora’s internet radio has always been one of those sites that was really cool in concept, but too inconvenient to ever go mainstream. The service was long tied to computers only, and while it eventually expanded to special internet radios and some mobile phones, it still has yet to become a household name. But with the launch of Pandora’s new iPhone app last Friday, it looks like the service is about to hit critical mass. It’s a free, mobile, digital radio station that only plays music you like and lets you skip the stuff you don’t. And it rocks.

The personalized music service employs a small army of 50 musicians to create a “Music Genome” that describes each song according to 600 attributes. Listeners input a few of their favorite artists, and the site analyzes the Genome to serve up an endless stream of recommended music.

We introduced the app last Friday, when we called it our “flat out favorite application so far”, and since then it hasn’t failed to impress. Streamed music plays flawlessly over Edge and 3G networks - during a 40 mile drive I didn’t once run into any kind of skipping or static. Even better, the app currently has no advertisements playing, though we can probably expect that to change.

Unsurprisingly, Pandora’s usage stats are overwhelmingly positive. Pandora is currently the fourth most popular free app on iTunes (behind Apple’s Remote, AIM, and WeatherBug), and has reportedly been seeing a new listener every 2 seconds. Usage over the weekend hit an all-time high for the service, with 3.3 million tracks streamed to iPhone listeners alone. Perhaps more impressive is the retention rate of listeners, who are averaging over an hour of listening per day.

If there’s one thing that could kill the service, it’s ads. Pandora is going to need to monetize the app somehow - let’s hope it allows us to pay an upfront fee (say, $10) to avoid the annoying interruptions that have made listening to traditional radio a painful experience.

 

July 15, 2008

Radiohead Partners With Google For Music Video Launch

(* Source: Calley Nye *)

 

Calley says... 

Google has partnered with Radiohead to promote the band’s music video for the song “House of Cards” from the album In Rainbows.

It’s definitely not your average video considering that there were no cameras or lights used: it’s all data. The video uses real time 3D recording, utilizing structured light and laser-enhanced scanners. Google is hosting the interactive video application at code.google.com and providing an iGoogle gadget for the video and application.

RADIOHEAD_HOUSE OF CARDS


Gadgets powered by Google

The video was created by music video director James Frost, and the technology was handled by Aaron Koblin, who has done several other visualizations including the well-known flight pattern visualization.

To capture the 3D images, they used a structured light scanner from Geometric Informatics for the close proximity shots of the singers and a Velodyne LIDAR scanner for the landscapes. The LIDAR scanner uses 64 lasers to scan an environment and create an XYZ point cloud of data, which is then rendered and read by 3D software.

Radiohead got a lot of attention when it released its album In Rainbows for free online. This led to a lot of speculation about the future of the music industry and the way people will purchase music.

Since Radiohead identifies itself with the open-source ethos, it’s releasing the video’s data so that developers can remix it and make their own variations of the music video. You can download the viewers and data from the Google Code project page.

That page also has an in-browser data viewer for viewing and interacting with the video. The player is Flash-based, so you can zoom with the mouse wheel, or click-and-drag to move it around. The page also has links to the YouTube video, the YouTube group (for user-remixed videos) and the behind-the-scenes video.

This project may have interested Google because the LIDAR technology used in the landscape and large environment shots is similar to the system Google uses for their Google Maps Street View project. It’s just a very different application of the same technology.

Also see Aniboom’s contest where cartoonists are encouraged to create music videos for Radiohead songs.

 

A TuneUp for your iTunes

(* Source: Jason Kincaid *)


 

Jason reports... 

TuneUp, the iTunes plugin that uses digital fingerprinting to help clean up your iTunes library, has launched to the public. The plugin is currently available to Windows users, with a Mac version expected this fall (annoying, by the site’s own admission). You can download it here.

Users can get a free version of the software that limits them to 500 song tag cleanups and 50 album cover lookups (suitable for only the smallest music libraries), or a paid version with no usage restrictions. The cost of the paid version is $12 per year, or $20 for a lifetime subscription. Both versions of the software also include features that will show YouTube videos related to the song currently playing, as well as concerts in the area.


More here 

July 10, 2008

Who Needs Music Labels? Last.fm Starts Paying Royalties To Unsigned Artists

(* Source: Erik Schofeld *)

 

 


Erik reports...

Music-streaming service Last.fm is now paying unsigned artists royalties for every song played on its service. Since the company announced the program last January, 70,000 artists and small music labels have signed up for it and uploaded 450,000 tracks.

What Last.fm is doing here is creating an alternative to the official royalty-collecting organization for musicians (i.e., SoundExchange). Last year, the royalty rates for music streamed over the Internet were raised, making it more difficult for ad-supported music startups to stay in business. Last.fm got bought by CBS, so it’s not in danger of going under. And for any song owned by a label or artist who participates in SoundExchange, Last.fm continues to pay the going Internet radio royalty rate. But it is beginning to bypass Sound Exchange by giving new, unsigned artists an alternative.

By cutting out the middlemen (labels, SoundExchange), Last.fm claims that artists that sign up for the program will receive more than twice the royalty rate they would see if the same song played on commercial radio. That’s because the money goes directly to the artist. (The total royalty, though, is less than what it pays SoundExchange). The royalty that Last.fm is paying unsigned artists is equivalent to 10 percent of the advertising revenues associated with their songs (update: in certain cases, see below). Musicians get a quarterly check, and can withdraw the money once it reaches $10.

We’re not talking a lot of money here, a few fractions of a penny per song. But as the online music industry grows, and along with it online advertising targeted at music listeners, these numbers in aggregate could start to become meaningful.

More importantly, it creates a direct economic link between Last.fm and up and coming artists that have not yet been discovered or signed by a label. The program is also appealing to tiny labels that don’t participate in SoundExchange because they are too small or it is too much of a hassle. (Anyone who already collects royalties through SoundExchange is not eligible for the program). Of the 170,000 signups so far, 30 percent are labels. And daily artist account creation in general is up 60 percent since the announcement in January.

Since it is Last.fm’s program, it controls the royalty rates it pays out, which it can adjust according to how much advertising revenues these songs generate. Now, does anyone actually want to listen to these songs and ill musicians shift over in massive numbers from the labels to this sort of direct arrangement? That is what will determine how disruptive this really is.

 

July 09, 2008

Live Nation Rocks On... labels watch this space

(* Source: Mark Hefflinger *)

 

Mark reports...

A week after signing Colombian pop star Shakira to a reported $70-$100 million "360 deal," concert promotion giant Live Nation (NYSE: LYV) announced on Tuesday that it signed a new multi-faceted contract with Canadian rock band Nickelback. Under the deal, financial details of which were not disclosed, Live Nation acquired a vast array of rights for the band, including three touring and album cycles, tour sponsorship, merchandise, VIP/travel packages, secondary ticketing, clothing, licensing, non-tour sponsorship and endorsements, DVD and broadcast rights, fan club, website and literary rights.

Previously signed to EMI in Canada and Warner Music/Atlantic/Roadrunner Records in the rest of the world, Nickelback has sold more than 26 million albums worldwide.

The band's last tour of North America and Australia, in 2006-2007, sold more than 1.5 million tickets and grossed in excess of $67 million.

"This deal with Nickelback will enable us to fully capitalize on our vertically integrated platform to connect the band with their fans, monetizing our unparalleled reach to drive revenues and increase overall margins," said Live Nation CEO Michael Rapino.

"This partnership is structured to increase our revenue and cash flow potential significantly, while reducing our risk profile. This investment is cross collateralized, spread over multiple years and comprises multiple business opportunities."

July 04, 2008

Streamzy: A Fresh Face For Seeqpod’s Streaming Music

(* Source: Jason Kinad *)

 

 

Jason says.. 

We’ve seen a number of music sites like Seeqpod and Grooveshark that leverage user-uploaded music scattered across the web to offer free, on-demand jukeboxes. These services manage to skirt legal repercussions by only serving content that is hosted on other sites, which makes them harder to sue (though some have tried).

Streamzy, a media search startup that launched earlier this year, has taken this approach one step further. Instead of trying to index user-generated content, Streamzy uses Seeqpod’s database as a content source, which it further refines by weeding out broken links. The site, which used to only support audio, has just introduced video playback as well.

Streamzy offers a streamlined (and much improved) interface for Seeqpod’s content, sporting a minimalist player that neatly labels each song by title and artist name. Beyond basic media playback, Streamzy also offers an intuitive drag-and-drop playlist maker that users can save for future reference. In the future the company plans to allow for users to embed playlists on their blogs and social network profiles.

Streamzy isn’t much more than a resigned interface for Seeqpod, but it’s a redesign that was badly needed. And while it will have a hard time differentiating itself from the likes of Jogli, Songza, Soundflavor and a number of others, it’s a good place to start for music on demand.

 

June 26, 2008

Amie Street Lands Big Content Deal With The Orchard

(* Source: Jason Kincaid *)

 

 


Amie Street, the music store that features dynamic pricing that varies according to a song’s popularity, has secured a deal with digital music distributor The Orchard, which holds a catalog of over 1 million songs. For the time being not all of The Orchard’s music labels will be taking part in the deal, but Amie Street hopes to have them all finalized in the near future.

Amie Street offers musicians a unique marketplace that scales prices according to how many times a song has been purchased. Fledgling musicians trying to establish an audience will likely see their songs sell for only a few cents, but as they grow more popular song prices increase to up to 98 cents (Amie Street gets the first $5 made by each song, musicians keep 70% of any revenue thereafter). They’ve been one of our favorite startups since launching in mid-2006.

The deal marks a huge win for Amie Street, which has gradually been able to establish itself as a destination to discover new music, especially when compared to more traditional stores like iTunes and Amazon. The Orchard features a long list of notable labels and artists, and while it’s currently unclear how long it will take all of them to sign on, it’s clear that flexible pricing is being accepted as a viable business model by the music industry.

 

June 18, 2008

Survey: 80% of Youth Using P2P Would Pay for Legal Version

(* Source: Mark Hefflinger *)

 

A new survey of U.K. youth ages 14-24 found that 80% who use peer-to-peer networks to download music would pay for a legal file-sharing service. Conducted by the University of Hertfordshire on behalf of British Music Rights, which represents U.K. songwriters and music publishers, the survey asked 773 young people about their music consumption behavior, and found that 90% own an MP3 player.

The average player contains 1,770 tracks -- half of which have not been paid for.

Sixty-three percent said they used file-sharing networks, while 58% have copied music from a friend's hard drive to their own, and 95% copy music in some way.

Despite the downloading, over 60% said they would continue to buy CDs even if a legal file-sharing service existed -- and overall, respondents said the amount of money they spend on live music (60%) exceeds that spent on recorded music (40%).

"The music industry should draw great optimism from this groundbreaking survey," said British Music Rights CEO Feargal Sharkey. "First and foremost, it is quite clear that this young and tech-savvy demographic is as crazy about and engaged with music as any previous generation. Contrary to popular belief, they are also prepared to pay for it too. But only if offered the services they want."

 

June 04, 2008

The Filter Launches, With A Message From Peter Gabriel

(* Source: Jason Kincaid *)

 

Jason says... 

The Filter, the media recommendation engine that we covered last April, has opened its doors to the public. The Peter Gabriel-backed company offers an entertainment start page that provides recommendations on movies, music, and online video (it is mostly focused on perfecting its music recommendations for the time being).

In the following video Peter Gabriel explains why we need sites like The Filter to reduce the overwhelming abundance of information available online down to a manageable level.

 

 

June 02, 2008

Mötley Crüe Song Sells More on Xbox Than On iTunes

(* Source: Erick Schonfeld *) 

 

motley-crue-sola.png

Erick says... 

Can video games save the music industry? Probably not. But video games are emerging as a powerful distribution channel for digital music downloads. Players of Grand Theft Auto IV can buy the songs they hear in the game from Amazon by making their characters dial a number on their cell phones.

Now the rock band Mötley Crüe (yes, they are still alive) is getting in on the action as well. They released a single from their latest album, Saints of Los Angeles, both in the video game Rock Band and as download on iTunes, Amazon and elsewhere. In the first week that the digital single was available for sale (the physical album won’t be released until June 24), it was downloaded 47,000 times on the Xbox alone compared to 10,000 times on iTunes and other digital download stores on the Web.

Maybe people who play Rock Band are just naturally drawn to the Crüe. Or maybe video games are just a better way to sell music. You get to hear the whole song as part of a more immersive experience. And if you just scored high in the game, you are probably more receptive to shelling out some cash for the song that helped you get there. All those feel-good endorphins have to be channeled somewhere.

 

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Reputation Is A Scarce Good... As Metallica Is Learning

(* Source: Mike Masnick *)

 

Mike reports... 

We wrote about Metallica's latest foray online, where it's attempting to build a community around its latest music. Given Metallica's history of attacking Napster all the way back in 2000, we expected there to be some pushback, but what was really stunning was how many of the comments were from people (many of whom had been big fans of the band) still pissed off about Metallica's actions, and refusing to have anything to do with the band. We weren't the only ones to notice. Wired had a story on Metallica's efforts and discovered exactly the same thing. The vast majority of the comments were vehemently negative. Clearly, Metallica really tarnished its reputation by its actions eight years ago, and it's still paying for it.

This brings up a good point, that we've mentioned in the past in the comments, but not so clearly in a post. A person, organization, band or company's reputation is an important "scarce" good -- and once damaged, it's quite difficult (though not impossible) to rebuild the shattered goodwill. When talking about what would happen in a world without copyright, for example, people often say "but in a world without copyright, couldn't someone just copy your own creation and pretend they were their own." The answer is yes, but they do so at the risk to their own reputation. If the news comes out that the person/organization/band/whatever was taking others' works and not giving credit where it was due, that would harm their reputation. And, as Metallica is learning, a tainted reputation can have serious long-term impact.

 

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RIAA Drops Allofmp3 Lawsuit; Pretends Mp3Sparks Doesn't Exist

(* Source: Mike Masnick *)

 

Mike reports... 

It's been quite some time since we heard about Allofmp3, the Russian online music download store that offered extremely low prices on DRM-free downloads (you even got to pick your format). The company insisted that it was legal in Russia, and had all the appropriate licenses. Multiple times, the company was brought to court in Russia, and every time, it was found to be legitimate. In fact, the company even tried to pay royalties for the music it sold, but the recording industry refused to accept the payments.

However, the entertainment industry had US diplomats lean on Russia, claiming that if it didn't shut down the site, the US would block Russia's admittance into the WTO. So, eventually, Russia did shut down the site through somewhat questionable means. Of course, within minutes of it being shutdown, the company reappeared under the name Mp3Sparks. In fact, Allofmp3.com accounts worked just fine on Mp3Sparks. And, of course, there are a dozen or so other Russian online download stores that also offer the same sort of deal (and all of which are playing by Russian copyright laws).

For some reason, though, Mp3Sparks just hasn't received nearly as much attention as Allofmp3, and it seems like The Pirate Bay has taken on the role of "public enemy number 1" for the recording industry. So, it should come as little surprise that the RIAA has dropped its lawsuit against Allofmp3.com, saying that the company is now defunct, while totally ignoring Mp3Sparks.

 

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May 28, 2008

Virgin Radio Turns Up the Volume with coComment

(* Source: Alana Taylor *) 

 


Virgin Radio, the UK’s most popular national rock and pop station, announced today that it is partnering up with coComment, a distributed comment system. This means that Virgin Radio’s 4.5 million monthly listeners will now be able to discuss their favorite songs or topics online and interact with each other using coComment. They can then track these conversations through their coComment account.

coComment was the early mover in the distributed comment space, but has since been joined by the likes of Disqus and SezWho, who have both been adding lots of new features and gaining lots of attention lately. In April we noted that SezWho added the feature of tracking RSS feeds rather than simply just comments, and recently we mentioned that Disqus launched their new video commenting feature through Seesmic.

In the end, however, all three services provide very similar features that allow users to interact and share information about what they find on the internet at rapid speed. The idea that blog comments are turning into an active world wide conversation is becoming a reality.

 

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May 22, 2008

Who’s The Hottest Band On The Internet? Coldplay, Says BBC SoundIndex

(* Source: Mike Arrington *) 

 


 

 

 

 

 

 

The BBC has been testing a new service called SoundIndex, which lists the top 1,000 artists based on discussions crawled from Bebo, Last.fm, Google Groups, iTunes, MySpace and YouTube. The top five bands according to SoundIndex right now are Coldplay, Rihanna, The Ting Tings, Duffy and Mariah Carey , but the index is refreshed every six hours.

This is somewhat similar to Songkick’s “Battle Of The Bands,” which we covered in March. Songkick uses different data - MySpace, Amazon and blogs - to determine rankings, and the results are completely different.

SoundIndex also lets users sort by popular tracks, search by artist, or create customized charts based on music preferences or filters by age range, sex or location. Results can also be limited to just one data source (such as Last.fm).

SoundIndex was created in partnership with IBM (IBM’s Semantic Super Computing is used to crawl and analyze sites), and the UK’s NovaRising produces the site. The project is coming out of BBC Switch, BBC’s new teen service delivering content to 12 to 17-year-olds across multiple platforms, TV, Radio 1 and online.

 

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I Am Failing To Get Excited About Napster’s 6 Million Songs

(* Source: Michael Arrington *)  

 


 

 

Mike says...

Napster just announced that they are now selling their entire catalog of 6 million songs for $0.99/each, no DRM. And for some reason I’m having trouble getting excited about it (CNET, however, has more than enough excitement for both of us, saying “This is a huge day for digital music.” Whatever.)

The fact is that Napster is still unprofitable and still makes most of its revenue from all-you-can-eat subscription sales. Both AOL and Yahoo bailed out of this business, since consumers don’t seem to like it and the labels take all the revenues. Ian Rogers explained why that business sucks last year, right before he bailed out of Yahoo.

So Napster is making their big push into DRM-free sales, a market dominated by iTunes and increasingly Amazon. And…cough…BitTorrent. The days of paying for recorded music are nearly over. And there’s nothing Napster can do to change that.

 

May 16, 2008

RIAA to Pay $108K in Attorney's Fees in File-Sharing Case

(* Source: Mark Hefflinger *) 

 

Mark reports... 

The major record labels that sued Tanya Andersen (Atlantic v. Andersen) for infringing their copyrights on file-sharing networks, then eventually dropped their case, have been ordered by a federal court in Oregon to pay her nearly $108,000 in attorneys fees and costs, P2PNet reports.

The sum is the largest attorneys' fee award so far to be levied against the Recording Industry Association of America (RIAA) in its legal campaign against file-swappers. 

"This will assist in levelling the playing field in other cases," Andersen's lawyer, Lory Lybeck, told p2pnet.

 

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May 13, 2008

Twitter for Music

(* Source: Mark Hendrickson *)


Twitter is an efficient technology for spreading and harvesting concise ideas. Unfortunately, it’s not so great for sharing rich media. Want to broadcast a video? You’ll have to settle for a TinyURL to YouTube, or maybe switch over to Seesmic altogether.

Pownce improves on the Twitter model by supporting file transfers and at least one new data type: the structured event. It also appears to be evolving into a better system for trading music, possibly with a full-featured music player.

But if music is indeed a significant part of Pownce’s future, then Blip is one step ahead. Call it “Twitter for Music” since it’s essentially just that: a way to suggest music and share your thoughts about it with a network of contacts.

The beauty of Blip is that, unlike with Pownce, no file uploads are necessary. Just search for the song you have in mind and Blip will grab it from Seeqpod, Skreemr, or parent company Fuzz’s own database of music. Your followers (”listeners”) can hear full versions of the songs you post using a Songza-like player at the bottom of the page.

Of course, just as people are wary of joining yet another social network, they’re sure to think twice about leaving behind a network of followers for a new micro-blogging platform. So Blip debuts with the ability to push messages out to FriendFeed, Twitter, Pownce, and Tumblr. This may not ensure its survival in the long run, especially if Twitter or Pownce decide to integrate Songza, but it should help with adoption rates.

Fuzz, the company that created Blip, is a self-described “CRM for bands” - a place where indie artists can set up web presences and manage their relationships with fans. It also features a mixtape maker like Mixwit and Muxtape, but with songs contributed directly by artists themselves.

 

May 08, 2008

Bands are getting into bed with consumer brands

(* Source: Cliff Jones *) 

 

As record labels lose their way, bands are getting into bed with consumer brands. Is this the way of the future?

 

Groove Armada with bacardi
 
 
Cliff reports...
 
From boutique favourites such as Agent Provocateur and Joe Bloggs to icons of the global hyper-mall such as Diesel, Yahoo!, Audi and Coca-Cola, brands have awoken to music’s potential as a powerful communication tool, and a content gold rush is on. Under the “lifestyle” umbrella, household names are seeking out, signing and promoting music. And far from heralding a sellout, taking the corporate shilling may be the smartest career move a struggling artist can make. With unsigned MySpace hopefuls such as the singer-songwriter Tom Glynn partnering Caffè Nero for instore music and branded CDs, and big-name acts such as Madonna, Annie Lennox and Paul McCartney serving divorce proceedings on their labels as they “consider their commercial options”, brands are invading the ground left by the labels’ retreat.
 
“There’s no doubt we are at a crossroads,” says Steve Levine, producer of Culture Club and a spokesman for artists’ issues with the British Academy of Composers & Songwriters. Having consulted on brand-related music projects, he has seen a marked change in musicians’ attitudes: “It’s as if we’ve suddenly become aware of the truth behind the smoke and mirrors of the record deal. Most artists now understand how the business works and who their fans are. That is always going to be valuable to a brand. It’s certainly a freer, more equal relationship. Record companies have to own everything, because their whole model is based on selling records - ‘Is it a hit, will it make us our money back?’ If brands do nothing other than free musicians from the tyranny of needing a radio-friendly smash to have a career, it has to be a positive.”
 

It isn’t just financial necessity that is driving artists into the arms of some of our favourite household names. Joe Public’s relationship with brands has also shifted: we love them, and we don’t much care that they are colonising our lives. Marketing gurus have a term for it. According to them, we are all “cheerfully commercial” now. Yet, despite this, the dwindling budgets and the brutal roster-cleansing, the industry still appeared shocked when the dance duo Groove Armada gave into the siren call of Bacardi last month.

Their decision to leave Sony BMG and sign with the drinks giant sent a clear message to labels and brands alike that Bacardi saw a big future in taking its partnership with music beyond mere sponsorship. The one-year deal has the drinks giant releasing the band’s music through its own label and download platforms, as well as paying for a series of “parties” that GA will curate and headline.

“It feels very natural,” says Tom Findlay, one half of the dance duo. “Bacardi have a strong heritage in dance and putting on parties, and so do we. They’re offering a decent sum of money, we get to play in places we would not normally get to, and we keep the copyright in our recordings.”

What of the accusation that they have sold out? It seems everyone is too busy being “cheerfully commercial” to worry. “With sponsorship now such an essential part of the festival scene, it’s something I’m relatively comfortable with,” Findlay says.

The role of brand as benefactor and the structural changes in the music business reflect changes in how we perceive the value of music. The internet will eventually ensure that recorded music is largely free. Meanwhile, the emotional worth of music that makes up our personal soundtracks is as strong as ever. As the dust settles, managers, lawyers and producers will work with brands to bring new artists into the limelight.

 

More here 

 

 

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TuneWiki’s iPhone-Like Media Player for Android

(* Source:  Jason Kincaid *)

 

 

 

Jason says... 

The race is on for software supremacy on Google’s Android platform, as developers compete to develop the applications that will eventually come preloaded on branded phones. Today TuneWiki, one of the most popular third-party developers for the iPhone, has announced a media player for Android that will feature an iPhone-esque interface, support for synching with iTunes, and the karaoke-like lyric functionality that put them on the map.

Owners of jailbroken iPhones may be familiar with TuneWiki already - As we mentioned last week, the iPhone version has seen “hundreds of thousands” of downloads since December 2007. The iPhone version of the software features a player that displays karaoke-style lyrics in time with songs in the device’s library. TuneWiki has partnered with Universal to provide lyrics legally, and has ongoing talks with other music labels.

The Android version of the software has the same karaoke synching, with added support for music videos that are synched with lyrics. While this is significant in itself, the real news here is the media player that will accompany the software. From the brief demonstration seen in the video below, the player seems to be every bit as usable as the one seen on the iPhone (it looks nearly exactly the same, which isn’t a bad thing).

Android may be an “Open” platform that will allow handset manufacturers (and possibly users) to install whatever applications they want, but we’re going to be seeing a few dominant leaders emerge in each space. There won’t be any shortage of iPhone-imitating apps, but TuneWiki has given itself a leg up by establishing a number of features that will be difficult to replicate. Whether or not these will be enough to lift TuneWiki above the rest of the pack remains to be seen.

 

April 30, 2008

When Platforms Collide: The Future of Mobile Music

(* Source: Paul Resnikoff  *)

 

Mobile phones are frequently viewed as a distinct media environment, separate from other platforms like PCs and television.  But as mobile devices increasingly assume computer-like characteristics and reach beyond carrier-provided signals, their status as a separate platform is starting to erode.  "The question is whether it makes sense anymore to license for a platform, or if we are now talking about a pervasive experience," said Ted Cohen, head of digital consultancy TAG Strategic, during an executive roundtable at MusEXPO in Los Angeles on Monday.

Cohen pointed to an oncoming generation of handhelds that include WiFi browsing and offer easy connectivity to PC-based collections.  Indeed, that future is already among us, and the emerging media consumer is clearly a cross-platform animal.  "It never made sense to license separately for mobile," said Ian Rogers, former head of Yahoo Music and current chief executive of Topspin.  "Mobile will eventually start to look more like the internet, and at that point, it stops making sense to view it as a completely different model."

Others etched a similar vision of convergence.  "It will be very difficult to tell the difference between a laptop on WiFi or WiMax and a mobile device, and you might make phone calls on both," said Chris Barton, strategic partnership development manager at Google.

But the ex-Yahoo Rogers touched upon the somewhat restrictive nature of the current mobile platform, one heavily controlled by carriers.  And that mostly defines today's landscape for mobile music and media, at least for those wanting to promote, sell, or acquire content on handhelds.

For carriers and major content owners, the present-day environment offers an easier mechanism for controlling customer billing relationships and extracting dollars from content.  "It really comes down to where the billing relationship is," explained David Pakman, chief executive of eMusic.  And that existing relationship makes its advantageous for carriers and other stakeholders to preserve the existing landscape.

But despite that carefully-crafted moneymaking machine, attendees continued to question the power of mobile platforms to deliver solid, independent revenue streams.  One pointed to a growing threat from tiny, flash-based storage cards, easily swappable among users.  Another pointed to side-loading among users, who predictably want to extend their massive, PC-based collections onto their devices.

Meanwhile, consumers are now getting ready for a beefed-up iPhone, perhaps the vanguard of a more sophisticated, powerful mobile device class that is stretching beyond carrier-imposed limitations.

 

April 29, 2008

MyStrands Scrobbles Last.fm for Mobile Users

(* Source: Kristen Nicole *) 

 

MyStrands has always had a very large push on the mobile front; being a European-based company has allowed MyStrands to explore this front more so than it could do strictly in the US. It’s latest announcement takes mobile access to MyStrands to another level, with scrobbling integration for Last.fm content.

With the latest update for MyStrands Social Player, Nokia users can scrobble tracks to Last.fm as they play music on the Symbian S60 3rd Edition and J2ME (optimized for Nokia S40) devices (download the respective applications here and here).

The beauty of such devices is that they do in fact act more like computers than mere cell phones, and Nokia has been at the forefront of app development towards this end. In doing so, Nokia has allowed companies like MyStrands to really pour a lot of resources into the development of mobile applications, which have large bearings on the web applications as well.

In providing scrobbling for Last.fm accounts, MyStrands bridges the gap between its own service, mobile devices, and Last.fm users, which can then broadcast listening activity and recommendations far beyond the realms of these three options.

Likewise, such mobile scrobbling integration with Last.fm means that users can search and discover new music from their mobile devices as wel, thanks to the MyStrands Social Player and reccomendation tools for songs and artists, as well as like-minded users.

 

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April 25, 2008

Chilirec Is Like TiVo for Internet Radio

 

 


You start with Chilirec by choosing from a preselected set of a few hundred channels. Two downsides: you can’t load your own channels and you can’t listen to them normally before choosing to record. But once you to start recording, Chilirec will begin loading the songs into its Flash-based player so you can play them back at your convenience (somehow it knows just when songs begin and end, and which ones they are).

After you’ve built up a recorded collection, you can search through your songs using keywords that will match artists, titles and genres. You can also play recordings by channel, artist, and playlist. A “toplists” feature will presumably display the songs that are most popular across your selected channels, but it takes at least a day of recording to work.

If you want to play a song outside of Chilirec, you can click on an icon next to it and it will be saved as an MP3 on your desktop. It would be great to see them add a feature for bulk downloads in addition to the ability to load your own channels (for your local radio station, for example).

Chilirec is a nice tool for when you don’t know exactly which music you want to add to your collection. Other music search sites like Songza and Skreemr are better when you have an artist or song name in mind. And of course, Pandora and Jango are great for when you want to find music related to the stuff you already know you like.

 

 

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Podcast Ads are Highly Effective, But at Whose Cost?

(* Source: Mark 'Rizzn' Hopkins *)

 

 

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 Podtrac, TNS and eMarketer have put together a few reports indicating the effectiveness of podcast advertising relies on its longtail, as contrasted with the instant gratification methods more prevalent in other types of Internet based advertising like Google’s AdSense or YouTube’s overlay ads for video. The companies studied podcast advertising from February 2006 to March 2008 across multiple product categories and ad types. Unaided awareness for podcast ads was 68%, compared with 21% for streaming video and 10% for television

In eMarketer’s analysis of the data, Doug Keith, president of Future Research Consulting was quoted as saying: “The data suggest audiences are paying close attention to show content and the embedded ads within them which greatly increased ad effectiveness in the studies. The high unaided ad recall figures are no doubt the results of a less cluttered environment.

It’s great data, and bodes well for the producers in the podcasting world looking to make their bones and their living producing audio and video content.  As James Lewin at Podcasting News notes, though, since the data comes from a company that makes their living evangelizing podcasting, the data is a bit suspect.  What makes it even more suspect is the fact that it comes from PodTrac, a monetization group that unfortunately has a reputation amongst the podcasting producers’ community for a lack of responsiveness to talent inquiries, a severe shortage of advertising opportunities, and a history of slow payments.

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Still, there’s an element of truth in the studies, even if study comes from a questionable source.  The nature of downloadable and on-demand media doesn’t lend itself very well to the impulse purchase, but more towards the brand impression mode of marketing.  There have been ongoing attempts by many of the leading podcast advertising networks, like The TechPodcast Network and Podango, to push CPA (cost per action) ads. These types of deals don’t pay anything to the content producer unless the listener/viewer takes an action, and usually does so using a certain URL or discount code.

Given that with video and audio, there isn’t really such thing as a hyperlink, it’s usually nigh impossible for the producer to receive credit for all the actions generated by the advertising. While I certainly believe in the medium of podcasting, and it’s ability to be, as these aforementioned studies show, at least seven times more efficient than traditional advertising, I have to wonder if CPA and the lack of the hyperlink has something to do with that cost effectiveness - at the expense of producers.

 

April 23, 2008

Record labels takes another music service down

(* Source: Duncan Riley *) 

 

 

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Duncan reports... 

Sonific, an online music playing servuce similar to Pandora and Seeqpod, is to close May 1 as the company was unable to obtain licensed music rights in a way that made the service viable.

Gerd Leonhard, Co-Founder & CEO writes:

1) There are countless startups providing access to any and all music streams without any license whatsoever. However, when we approached the major record label decision makers in order to obtain licenses for some of the music in their catalogs we have routinely faced demands for very large cash advances and fixed per-stream minimum payments, pressure to give them ‘free’ company equity, and requirements of utterly bizarre usage restrictions. It seems that the industry’s major stakeholders still prefer this turf to remain unlicensed rather than to allow real-life, workable and market-based solutions to emerge by working with new companies such as Sonific. This is not the way forward.

2) We therefore had to realize that a company that wants to provide interactive streaming music services must either a) risk the constant complaints of their users, due to the lack of hit content b) proceed to use any and all music (this is routinely done by allowing users to upload their own MP3s) without the required licenses, and therefore be at the total mercy of the record labels at some point in time, and c) build a huge audience very quickly, based on having the content available - permission or not -, and then very quickly sell themselves to a large company that will take care of placating the labels while the money is plenty and the pockets are deep.

Unfortunately we don’t like any of these choices.

 

 

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April 10, 2008

Last.fm: Free Sampling Boosting Music Sales...

(* Source: Digital Music News *)  

 

More sampling means more buying, at least according to Last.fm cofounder Martin Siskel.  Just recently, Last.fm started offering full-length, on-demand access to a considerable catalog, instead of 30-second samples.  That has now caused a "direct and positive impact," specifically a 119 percent gain since January.  "In just over two months it's become clear that people will buy CDs and downloads if they get access to the kind of service we offer," Siskel said. 

Siskel pointed to a potent combination of previewing, discovery, recommendation, and social networking, elements blended smartly by Last.fm.  Specifically, Siskel referenced an Amazon-based increase, though the company also has affiliate partnerships with iTunes and 7digital.  But the specifics ended there, and the company declined to detail hard numbers.  That raises questions about the absolute volumes involves, and introduces the possibility of insignificant totals.

 

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So You Want To Sell Music In China?

(* Source: Ed Peto *)

 

Mathew Daniel says...

As Olympic hosts and country-of-honor at MIDEM, China’s music industry is an increasingly common feature on the western agenda. There is, however, almost a whiff of the ‘Wild East’ in the way companies are approaching licensing in the Middle Kingdom.

It has to be realized that the vast majority of labels at MIDEM are probably currently unscathed by piracy in China and that’s likely because their music is so obscure in the Chinese consciousness that they have not even had the dubious honor of gracing the servers of China’s notorious MP3 search engine, Baidu.

Piracy in China often gets a lot of attention but many forget the other Ps of marketing and these are the basics that labels intending to come into China should first focus on. For dramatic effect, let me first quote Tim O’Reilly when he said that Obscurity is a far greater threat to authors and creative artists than piracy.

I wouldn’t go so far as to say that one is worse than the other as it is a case of horses for courses. I would also add that in China, in true Darwinian fashion, one man’s piracy is another man’s marketing. But as O’Reilly explained, piracy eventually develops in a manner akin to progressive taxation in exchange for greater exposure and appeal: There is always the regretful possibility that one may eventually despair at the crossroads of Robert Johnson.

Ed Peto’s piece about the music business in China also noted the labels’ part in engendering piracy in China:

“The arrival of western product in the early 90s came courtesy of ’saw-gashed’ CDs: Excess stock and deleted titles from western majors attempting to avoid taxation and disposal costs. These CDs had their cases cut to mark them as defective and were then shipped in to China through free-market economic ports like Guangzhou, only to end up on the black market. An end result that can be seen as a partial shooting-in-the-foot for the western majors who then had to come in and fight against the pirate networks they inadvertently helped set up.”

Kaiser Kuo, one of the pioneers of China’s rock scene added, “During the 1990s they were an important source of foreign music”. And so, this rejected music from Western shores - a good proportion being hitherto obscure - has bizarrely taken root in China while the majors also propagate low common denominator fare like the Backstreet Boys, Britney Spears, Celine Dion, Sarah Brightman et al in CD stores. A recent alumnus of this group, UK’s X-factor winner Shayne Ward was in Beijing this week and was awarded a Gold Record for sales of 15,000 for his new CD ‘Breathless’.

The major labels are still counting on physical distribution to help make their numbers in China and International Marketing Director at Universal Music China, Danny Sim has worked tirelessly to develop the market for international artists. In 2007 his efforts resulted in “a significant increase in revenues for CDs and I expect it to be even greater in 2008″, but in general international artists still account for probably less than 10% of the majors’ overall digital revenue in China. As more Chinese are being exposed to Western music via the internet and the media playing more Western music, Danny also hopes that the labels and SPs can work together to cultivate music genres and themes instead of single song hits.

However, this cannot happen in a vacuum and other Western labels who do not have the benefit of an existing network in China will have to do their part to sow the seeds in areas that are often taken for granted, like pro-actively providing artist information in Chinese, building artists’ websites in Chinese and, in general, stimulating more literature and musical discussions about artists online.

The following is an important checklist for labels intending to license digital music in China and illustrates the prior requirements before their music even tempts the pirates:

R2G Graphic +

 

April 08, 2008

RightClickA Music Project

(* Source: b-side *)

 

I've been watch this social networking meets music space for some time (nearly 2 years now) and been on the side experimenting with blogs (blogger), various social networks (myspace, facebook) and now have launched our very own RightClicka widget.

Have a listen and drop us a few comments... enjoy the music.

 

Something Important Is On The Horizon In The Music Business

(* Source: Fred Wilson *)

 

Fred highlights some interesting observations on streaming music and its importance in the near future. 

 

Fred says...

"Like everything that has happened in digital music, the rights holders have been once again been forced into dealing with an emerging technology. Companies like last.fm and imeem and others have, over the past year, have done deals with the leading rights holders to give them permission to stream pretty much any song they want to listeners over the Internet. They can do this “on-demand”, meaning you want to listen to the new Jack Johnson song, you tell your favorite web music service that and it plays. They can also stream music in various forms of smart playlists, either the tracks you have marked as your favorites, or the tracks your friends have suggested to you, or the tracks that people who like the same music as you like. Each and every service has a different take on these playlists. I happen to like last.fm and hypemachine. You may like Pandora. Someone else might like Jango. Your kid’s myspace page might have an imeem playlist on it.

And because of all this innovation in streaming music over the past year, the number of people actively listening to music streamed over the Internet is rising quickly. It’s becoming a mainstream activity, particularly among the younger set.

I think of these web services as the new radio stations. Everyone of my generation has had their favorite radio stations. Everyone of my kid’s generation will have their favorite web music services. There will be hundreds of them. All supported by advertising, just like traditional radio stations, and all of them licensed by rights holders (eventually), and all of them paying the rights holders a little coin every time their song is played. And because these services will be free to anyone who wants to listen, they will be very popular. Never before have you been able to decide you want to listen to something you don’t currently own and then just play it. No searching on Limewire or bittorrent, no waiting for the download, you type in the name of the song you want to play and you hit play.

These services are coming to mobile phones, probably in the next year we’ll all be listening to pandora or last.fm in the gym on our phone instead of our limited library on our iPod. That’s when this new form of listening is going to explode. And that’s when Apple is going to wish it had thought more about streaming and less about file based music. But you can’t feel too badly about Apple because a good number of people will be listening to pandora or last.fm on their iPhones."

 

 More here

 

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April 04, 2008

iTunes Store Top Music Retailer in the US

(* Source: Apple *) 

 

Apple® today announced that the iTunes® Store (www.itunes.com) surpassed Wal-Mart to become the number one music retailer in the US, based on the latest data from the NPD Group*. With over 50 million customers, iTunes has sold over four billion songs and features the world’s largest music catalog of over six million songs.

“We launched iTunes less than five years ago, and it has now become the number one music retailer in the world,” said Eddy Cue, Apple’s vice president of iTunes. “We are thrilled, and would like to thank all of our customers for helping us reach this incredible milestone.”

*Based on data from market research firm the NPD Group’s MusicWatch survey that captures consumer reported past week unit purchases and counts one CD representing 12 tracks, excluding wireless transactions. The iTunes Store became the largest music retailer in the US based on the amount of music sold during January and February 2008.

 

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MySpace To Launch New Music Joint Venture With Big Labels

(* Source: Michael Arrington *)

 


 

 

 

 

 

 

 

 

 

We’ve confirmed through sources that MySpace has settled the pending litigation Universal Music, albeit in a very unique way. They’ll create a new MySpace Music joint venture, with equity stakes from all the major labels (except EMI, which is still negotiating).

Expect the announcement today, and a launch of the new music property in July or August 2008. The news was first reported by Reuters, with additional information from SAI.

The new company will own the MySpace music property, get a cash infusion of $120 million or so from parent company News Corp, and distribute that $120 million to Sony BMG, Universal Music Group and Warner Music Group. In return, the litigation will be dropped and the labels will give streaming and downloading rights to their catalog to the new entity. Approximately $100 million of the News Corp. capital will go to Universal; the rest will go to Sony BMG and Warner.

Users will be able to stream music on demand, create playlists, and add widget music players to their profiles. The streaming will be advertising supported - at first via display ads (like Imeem), and later via in-stream audio ads. DRM-free downloads will also be available, either advertising supported or on a pay basis like Amazon’s Music Store.

Advertising revenue will be split among the joint venture partners according to their equity stakes, not based on play counts.

 

April 01, 2008

Reznor's one-week take for 'Ghosts': $1.6 million

(* Source: Chicago Tribune *) 

 

Ghosts 

 

A week after releasing his four-volume instrumental work “Ghosts I-IV” through his Web site, Nine Inch Nails’ Trent Reznor is reporting that he amassed more than $1.6 million in orders and downloads.

Reznor made the albums available at five different prices, including a free download, without any advance publicity. His marketing campaign, such as it is, consisted of a terse announcement on his nin.com Web site. On Wednesday, he reported 781,917 transactions, including free and paid downloads and orders of physical product. A $300 box set sold out of 2,500 copies within a day. Nine of the 36 songs were made available as a free download. The complete set also was available as a $5 download, a $10 double-CD and a $75 set with bonus visual content.

 

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Live Nation Strikes Massive U2 Deal; 12-Year Pact

(* Source: Digital Music News *) 

 

Live Nation has now executed a massive, 12-year deal involving U2, according to deal points shared by company president and chief executive Michael Rapino this morning.  The pact covers lucrative merchandising, touring, digital, and branding areas, and is global in scope.  The relationship does not include recordings or publishing assets, as Universal Music Group will retain its ongoing relationship with the group.

That falls short of the all-encompassing deal structure involving Madonna, though Live Nation is jumping into a significant basket of U2 revenue-generators.  And like Madonna, U2 is an absolute powerhouse that can stuff massive venues.  Additionally, both artists will allow Live Nation to compete aggressively on the ticketing side with Ticketmaster, a partner that is being phased out in favor of an internal solution by next year.

The U2 pact continues an existing live performance relationship between the groups, one that dates back to the late 90s.  "We've been dating for over 20 years now, it's about time we tied the knot," Bono joked.  On the digital side, Live Nation will handle fansite aspects and other digital tie-ins, including U2.com, already managed by Live Nation-owned Signatures Network.  The deal is expected to officially close within a few months.

 

March 31, 2008

Music Tax Details From Source: “Pay Us Not To Sue You”

(* Source: Michael Arrington *)

 

Mike says...

We learned yesterday that Warner Music, the third largest music label, is gunning for a $5/month music tax on U.S. residents.

Some of the details were in the article: they’ve hired industry veteran Jim Griffin to create a new entity around the project, presumably to get other labels involved. Griffin threw out the idea of a $5/month tax (which would be added to people’s ISP bill), generating $20 billion/year in revenues. The tax won’t be mandatory, he implies. And he also said that it isn’t really a “tax”: “we have no such interest in government running this or having any part of it.” Griffin also talked about advertising subsidies for partners who don’t want to pay the fee.

Users who are paying the tax will be able to download music from the Internet legally, through all the normal channels (BitTorrent, other P2P networks, etc.).

Nothing he said is strictly untrue. But a source with knowledge of the project clarified a number of points for. Those details, combined with the vague outline provided by Griffin, show a scheme that is very similar to classic criminal protection rackets. We threw out that term to describe the scheme in our post yesterday as well - today, with these additional details, it seems to fit like a glove.

Here’s What They’re Really Planning: Pay Us Not To Sue You

The tax will not, in fact, be mandatory. But that is misleading - it won’t be mandatory for ISPs who provide Internet access to actual users. But if ISPs join the scheme, it will apply to all of their customers and be added to their bill as a surcharge.

Why will ISP’s agree to this? Mainly to avoid liability. The core of the plan is a covenant not to sue anyone who pays the fee. Griffin touched on this in the article, saying ISPs will want to “discharge their risk” around file sharing that occurs over their networks.

The rollout plan will hit colleges and universities first, who will simply add the fee to tuition bills so they won’t have to worry about getting dragged into lawsuits. Then Griffin will approach consumer ISPs. If an ISP joins, their users will not have the option of not paying, even if they don’t download music from the Internet. So, basically, the tax is only voluntary if you define avoiding it as not going to college, or using the Internet.

The advertising-supported option is likely a red herring to satisfy critics, and would be dumped before the project launches. It just isn’t feasibly to try to aim advertising at users who are downloading music from BitTorrent and putting it on their iPod. There’s no touch point to force advertising down their throat.

So the plan essentially comes down to telling ISPs that they can avoid any copyright infringement liability if they pay the fee on behalf of customers. And while the government wouldn’t be directly involved, the willingness of law enforcement agencies and the judicial system to enforce civil and criminal copyright infringement laws is the stick by which Griffin will convince ISPs to jump on board. It’s government endorsed extortion, nothing more and nothing less.

The effects on innovation in music would be disastrous if such a scheme were ever to become reality. It’s clearly good for the music labels, who are facing their imminent extinction. For everyone else, though, this is the worst possible thing that could happen.

 

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March 28, 2008

Radiohead “In Rainbows” Widgets

(* Source: Kristen Nicole *) 

 

 

Radiohead is the poster child for web distribution and an autonomous strategy for controlling one’s own destiny (while still making money) as an artist in this day and age. So when we heard about th latest Radiohead “In Rainbows” widget, powered by Clearspring, we decided to check it out.

The widget contains an entire menu of video and music content, along with tour dates, news articles, and a link to purchase the album. We’ve seen a few companies launch similar music widgets for artists, with some variants such as maps for tour dates, etc.

The Radiohead widget currently lacks interactivity for the end user, otherwise it would be a bit more like Splashcast’s widget offering, which has also been taking advantage of the open platforms across networks like Facebook and MySpace.

But given Clearspring’s other efforts to move forward in the widget space, having launched an ad network and other tools for web publishers to extend widgetizing content offerings, what we’re seeing is a standardization of widget features that are widely being adopted by musicians, combining viral sharing tools, self-promotion and easy access to content that can be monetized.

 

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March 26, 2008

These Crazy Musicians Still Think They Should Get Paid For Recorded Music

(* Source: Mike Arrington *) 

 

Mike says... 

Why is it the Brits have all the crazy-stupid ideas about how to screw up the music industry even more than it is already?

British musician Billy Bragg argues in the New York Times today that some portion of Bebo’s $850 million sale price should go to the musicians who uploaded their music to the site.

Note that Bragg neatly sidesteps the fact that music was uploaded to the site by artists (or their labels) themselves, with full knowledge that they would not receive payments of any kind (except free marketing, of course, and access to Bebo’s tens of millions of music loving users).

His argument is based on the notion that Bebo’s success was based on the availability of streaming music on the site: “The musicians who posted their work on Bebo.com are no different from investors in a start-up enterprise…Now that the business has reaped huge benefits, surely they deserve a dividend.”

Bragg also tries to take direct credit for Bebo’s success:

Mr. Birch has cited me as an influence in Bebo’s attitude toward artists. He got in touch two years ago after I took MySpace to task over its proprietary rights clause. I was concerned that the site was harvesting residual rights from original songs posted there by unsigned musicians. As a result of my complaints, MySpace changed its terms and conditions to state clearly that all rights to material appearing on the site remain with the originator.

A few weeks later, Mr. Birch came to see me at my home. He was hoping to expand his business by hosting music and wanted my advice on how to construct an artist-centered environment where musicians could post original songs without fear of losing control over their work. Following our talks, Mr. Birch told the press that he wanted Bebo to be a site that worked for artists and held their interests first and foremost.

Bragg does attempt to argue his case, primarily by (1) saying that social networks are as much to blame for declining music sales as the people who are downloading songs in violation of copyrights, and (2) saying that arguments that social networks are doing musicians a favor by marketing their music are “disingenuous.”

Both arguments have holes in them so large you could drive a BitTorrent stream through them.

Social networks have absolutely nothing to do with the decline in music sales. The fact that recorded music can be reproduced at a zero marginal cost is why music sales are declining. You can hate that or love that, but it’s simple economics that drives it.

 

More here 

 

March 19, 2008

Apple mulls unlimited music bundle

(* Source: Financial Times *) 

 

Andrew says... 

Apple is in discussions with the big music companies about a radical new business model that would give customers free access to its entire iTunes music library in exchange for paying a premium for its iPod and iPhone devices.

The “all you can eat” model, a replica of Nokia’s “comes with music” deal with Universal Music last December, could provide the struggling recorded music industry with a much-needed fillip, and drive demand for a new generation of Apple’s hardware.

 

More here 

March 18, 2008

Music Industry Analyst Proposes ISP Piracy Surcharge

(* Source: Jim Rossman *)

 

Jim says... 

From our friends over at Wired magazine, apparently some of the big four music labels are thinking about seeking out a fee from Internet Service Providers to compensate music industry writers and performers who's music is presumably being pirated over their networks.

According to the Wired article, "idea is to collect a fee from internet service providers -- something like $5 per user per month -- and put it into a pool that would be used to compensate songwriters, performers, publishers and music labels. A collecting agency would divvy up the money according to artists' popularity on P2P sites, just as ASCAP and BMI pay songwriters for broadcasts and live performances of their work."

So my question is if we are forced to pay a fee for music each month, would all music then be free to download and share?

Thoughts?

 

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The Games People Play (And the Bands That Play Along)

(* Source: Paul Resnikoff *)

 

As the influence of major labels continues to recede, a number of ambitious power-players are filling the void.  Early predictions called for the rise of the ultra-powerful management agency, though unexpected retailers like Starbucks, performance heavyweights like Live Nation, and even big-boxers like Wal-Mart are now commanding the most attention.

But when it comes to commanding the most hours of undivided consumer attention, the gaming industry is frequently unparalleled.  The hyper-distracted consumer of today is mostly a multi-tasking, surface-oriented animal, but games often defeat those tendencies.

And that spells a solid promotional platform for up-and-coming bands, especially those wishing to target a younger demographic with larger amounts of free time.  "It's just a new way of going to where kids are, versus where they're not - like radio," said Steve Schnur, worldwide executive of Music and Marketing at Electronic Arts (EA), during a recent discussion at South by Southwest (SXSW) in Austin, TX.

Instead of tapping established artists, Schnur is pursuing a more cutting-edge approach.  "I want someone to hear a song in a game that they'll hear on the radio two years from now," Schnur said.  "We want to be ahead of the curve."  And that means starting careers in a serious way, by starting with gamers who are seriously listening - over and over again.  "For the past seven years, we feel we've been pretty instrumental in helping to break and expose new artists," Schnur continued.

So why simply hand those success stories to others?  That is undoubtedly a question Schnur started asking himself.  And in March of last year, EA formed a collaborative venture with Nettwerk Music Group called Artwerk, one that started signing, distributing, and promoting artists on its own. 

That sounds like a direct competitor to major labels, though Schnur carefully characterized Artwerk as a next-generation publisher.  "Artwerk is not a record label, it's an aggressive, proactive music publisher that delivers master recordings, film and TV synch deals, advertising placements and distribution - it goes way beyond games," Schnur explained.  "We feel that record sales don't matter anymore, from a publisher's point of view - cross-platform global song placement does."

So what kinds of artists is Schnur talking about?  The first signing was Junkie XL, and others include Datarock, Airbourne, and Chromeo.  Some of those groups were discovered at SXSW, according to Schnur, a result that bucks criticism of the event as an overpopulated, hopeless endeavor for artists.

As a self-defined publisher, EA frequently partners with labels, and Schnur still pays for the use of songs and recordings.  "We pay for other people's IP," Schnur assured, though he was less confident that other gaming companies are doing the same.  Still, the total licensing amounts involved are mostly modest. "You won't make your yearly nut from a gaming license," Schnur advised.

 

U.S. Weekly Web Radio Audience Hits 33 Million

(* Source: Mark Hefflinger *)

 

Thirty-three million Americans age 12 or older -- or 13% of the population -- listen to an Internet radio station during the average week, up from 29 million a year ago, according to a report from Arbitron (NYSE: ARB) and Edison Media Research.

The study found that 63% of online radio listeners have a profile on a social network site, compared with 24% of the general population of Americans 12 or older.

The top social networks among online radio listeners was MySpace (28%) followed by LinkedIn (24%).

 

 

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March 17, 2008

Music industry courting gossipmonger Perez Hilton

(* Source: NEKESA MUMBI MOODY *)

 

A great article that shows the rising of star bloggers and the kind of influence they wield.  Another example that the future of marketing is conversational.  Read on. 

 


 

Nekesa says...

This year, he arrived as one of the music industry's key playmakers - and his newfound power was on full display as he played host to one of the festival's more coveted parties.

"Thank you Perez!" Robyn, the Swedish-born pop star who is releasing an album in the United States this summer, gushed onstage Saturday night as she performed in front of a packed crowd filled with industry insiders, artists and the typical hangers-on. Even more people lined the block around the venue in downtown Austin, hoping for a chance to see acts ranging from Internet darling Katy Perry to established artists such as Robyn and N.E.R.D.

"There's a lot of great acts performing these past couple of days, but not all on the same stage on the same night," boasted Hilton, sporting bleached blond hair with streaks of pink, in an interview with the Associated Press. "The musicians performing speak for the evening."

They also speak to Hilton's ever-increasing clout within the music industry. While his site routinely posts salacious details about perennial gossip targets like Britney Spears, Lindsay Lohan and the crew from "The Hills," he also regularly gushes about his favorite artists and songs - like Robyn.

Hilton (real name Mario Lavandeira) has been credied for helping to boost an artist's sales and profile from his postings: The New York Times reported last month that Warner Bros. Records was in negotiations to give Hilton a development deal that would make him an executive on the label.

"It's very flattering," Hilton said about all the attention.

So, not surprisingly, Hilton lined up a few key artists to perform at his party. The biggest act was undoubtedly N.E.R.D., the trio led by superproducer Pharrell Williams, who said Hilton's site is a key outlet for groups such as his.

"He's connected to the kids, he's connected to our demographic - people who want to be in the know, and he's opinionated and that's what makes it work," Williams said after spending a few minutes chatting with Hilton at a celebrity lounge Friday.

 

 

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March 11, 2008

More Music Applications

(* Source: Dan Taylor *) 

 

Dan says...

Below are five apps which have particularly tickled my fancy in recent months.

Moody
http://www.crayonroom.com/moody.php



Moody is a small but perfectly formed desktop app (Mac or PC, although the Mac version is more fully-featured) which enables you to tag tracks in your iTunes library according to mood. The interface is a 4 x 4 multi-coloured grid with the horizontal axis representing a spectrum from Sad to Happy and the vertical axis ranging from Calm to Intense. So a track like Homesick by Kings of Convenience would most likley be tagged purple (bottom left - v. sad and v. calm), whereas Tubthumping by Chumbawamba would be tagged yellow (top right - relentlessly happy and intense). Arguably one for the Nick Hornbys amongst us as you need to put in a bit of tagging legwork to get maximum value out of it (it is possible to download other people's tags, although there's no saying their tagging criteria will match yours).

FIQL
http://www.fiql.com



What marks FIQL out from other playlist sharing communities is the recent addition of video, pulling in (mostly YouTube) videos to match the tracks in the playlist. Whilst its only ever as good as the tagging on YouTube, the random nature of the videos is strangely compelling - you never know if you're going to get an artist's official video or a bedroom cover version. Below is an embed of some of my favourite music videos of all time (see earlier post on Top 20 best music videos ever).



MeeMix
http://www.meemix.com



MeeMix bills itself as "Internet radio that gets you" and the homepage invites users to "start playing the soundtrack of your life, here and now". Soundbites aside, MeeMix is a decent personalised jukebox in the Pandora mold with a slick, if slightly cutesy, interface. You can create new stations by entering the name of an artist or track and then rate tracks using a Hot or Not slider. There's also a Mood Control panel with Pulse and Surprise Me sliders, enabling you to adjust the tempo and serendipity of the suggestions.

Mixaloo
http://mixaloo.com



Mixaloo is an online playlist creator, positioning itself as the digital successor to the analogue mix-tape. Users are invited to select between 10 and 15 songs (from a library of over 3 million) and then share/promote their mix (via a selection of embeddable widgets - see below) with the added incentive of a revenue share on any resulting purchases. Whilst 3 million tracks sounds like a lot, in reality the library feels frustratingly limited - mix-tapes by their nature tend to include more obscure tracks and Mixaloo's catalogue is decidedly mainstream. Still, it's nice to have an alternative to Apple's iMixes, with the added bonus that some tracks are available to listen to in their entirety (rather than just a 30-second preview).



Songkick
http://www.songkick.com



You wouldn't guess it from the name but Songkick is all about tracking tour dates for your favourite artists, which you can either enter manually via the site's 'Band Manager' or get automatically scraped from your music library by the downloadable Songkicker plug-in. Whilst it's potentially a bit of a one-trick pony, the site does offer an appealing alternative to sifting through multiple email updates from assorted ticketing companies (NB. Currently only covers the US and the UK).

 

 

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March 07, 2008

Pitchfork to Launch Online TV

(* Source: PSFK *)

 

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Colin Nagy says...

Today, online music hub Pitchfork Media announced the upcoming launch of their new music-oriented online TV channel, Pitchfork.tv, set to go live on April 7.  Pitchfork has already established itself as a respected source for independent music news, reporting and commentary across several genres, and now they’re branching out with some compelling video content — on their terms.

As stated by Pitchfork:

As a visual extension of the music coverage Pitchfork has provided for more than a decade, and a means of updating and advancing the music television format, the online channel will bring you closer to the artists you love, through original mini-documentaries, secret rooftop and basement sessions, full concerts, exclusive interviews, and the most carefully curated selection of music videos online. In addition, Pitchfork.tv will become the first online video channel to screen full-length feature films, vintage concerts, and music DVDs free of charge. From the Pixies’ 2004 reunion tour film LoudQuietLoud and Todd Phillips’ notorious GG Allin documentaryHated, to Jimmy Joe Roche & Dan Deacon’s acid-drenched visual art piece Ultimate Reality, Pitchfork.tv will highlight a different film each week in its entirety.

The announcement emphasizes the fact that Pitchfork is privately owned, with no outside investment or special interests. In their words, “We’ve waited decades for a music channel that respects our intelligence and reflects our ideals. Now that the technology is here, we’re finally able to do it the way that people who really care about music have always wanted to see it done.”

Pitchfork Media

 

Nokia’s Online Music Store Opens in Germany

 (* Source: PSFK *) 

 

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Christine Huang says... 

Nokia’s online music store was open for business in Germany, the second country to welcome the largest cellphone maker’s virtual media shop (the first was launched in the UK in November). Nokia plans on rolling out their iTunes competitor in nine more countries by mid-2008, charging 1 euro ($1.52) per song, rivaling iTunes .99 euro/track rate.

Along with Nokia’s Ovi internet services (which offer its mobile users access to SNSes like MySpace, Flickr, and Facebook as well as the Nokia Music Store, Nokia Maps, and N-Gage games) the music store is is the first large-scale move by a cellphone producer in the realm of online content offerings. Next on the list are France, Italy, Spain, as well as Singapore and Australia by third quarter 2008, with further expansions planned for Asia and Europe through the end of the year.

 

 

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MTV and MySpace band together

(* Source: Mark Sweney *)

 

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Music channel MTV has struck a deal with social networking site MySpace to create a weekly chart show.

The show, called The MySpace Chart, will be shown on the MTV2 channel.

It will feature the best music videos as voted for by viewers watching the channel and MySpace users of the forthcoming mtv.co.uk/myspacechart website.

Each week fans will get to vote on 35 to 40 videos from the MTV2 playlist.

In addition five videos from new bands and artists will be promoted on both the MTV2 website and the channel's homepage on MySpace.

The show launched on March 16 at 7pm.

"The audience for MTV2 and MySpace are incredibly similar," said Philip O'Ferrall, the vice-president of digital media at MTV Networks UK & Ireland.

Dom Cook, the marketing director and head of music at MySpace UK, said: "The way that consumers are accessing music is changing and The MySpace Chart on MTV2 brings together two of the most important forces in this evolution.

"MySpace is the world's largest online music destination connecting bands and their fans and it will be exciting to see how the community will contribute to the show."

MTV and MySpace have previously collaborated in the hunt for a news presenter.

Last November, wannabe presenters were invited to upload their auditions to a MySpace web page where MTV producers assessed their chances of making it.

MTV is still in the process of choosing the winner with a five-part series of 30-minute shows about the hunt to be aired on MTV1 from April 28.

In January, MTV closed its user-generated content based channel MTV Flux.

The company retained the MTV Flux online community and is integrating the content concept into its MTV-branded music channels.

Music channels MTV2, Base, Hits and Dance will begin to offer a weekly 30-minute show, with the working title Flux Me I'm Famous, which will cover the most popular celebrity news stories discussed by the online community.

 

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If Facebook Music Really Launches, Will It Get Dissed By 50 Cent?

(* Source: Erick Schonfeld *) 

 

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Rumors surfaced again yesterday on Billboard and today in other media outlets that Facebook is in talks with the record labels to launch a music service that will include either free ad-supported music streams or paid downloads. Talk of such a service started last October, but what Facebook ended up launching was simply artist fan pages. MySpace is also preparing its own music service to be called MySpace Music. And other competitors from imeem to iLike to Last.fm are putting pressure on Facebook to respond with its own music offering. Music drives many social interactions, so you can see why Facebook would want to own that area even at the risk of alienating key partners (such as iLike).

But Facebook should really stay out of the music business. If it tries to enter in a big way it risks alienating not just its partners, but musicians as well. Its fan pages for musicians have not really done that well. Look at 50 Cent’s official Facebook page. He’s only gathered 8,213 fans there, compared to his 1,918,372 fans on his iLike page on Facebook (which includes fans across other social networks as well). I noted a similar disparity shortly after Facebook first launched its music fan pages.

 

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In fact, 50 Cent already dissed Facebook once. He took down his official Facebook page for at least a couple months. It just recently went up again. His online efforts are geared towards driving as much traffic to his own fan site that he controls, This is 50. That is why fan widgets like iLike or Kyte.tv appeal to him more than tying himself to any one destination. As iLike CEO Ali Partovi likes to say, “The new opportunity for growth is beyond Facebook.” Partovi just announced this morning that iLike has 23 million users keeping track of 200,000 artists across Facebook, Hi5, Bebo, iLike.com, Ask, and even iTunes.

What is happening with 50 Cent is indicative of a bigger battle brewing in the music industry between artists and record labels over who will get to control future online revenues. Both record labels and artists did not like the fact that MySpace was making money off of their artist pages with ads, so they started negotiating deals to get a cut of the action. The prospect of Facebook becoming a competitor was welcomed because Facebook treats artist pages like any brand or canvas page. The ads on that page belong to the brand or artist or application developer, whatever the case may be.

But with music, Facebook may now be putting itself in between artists and record labels, who both have claims to that page. It is easier for Facebook to negotiate directly with record labels, but in most contracts it is the artists themselves who control their Websites and pages on social networks. Of course, if they want to stream or sell music from those pages, that is where the record labels come in. Facebook is negotiating with the record labels, but the artists may be going elsewhere, as we are seeing with 50 Cent.

As traditional music revenues are drying up, the labels want to transition to online revenues as fast as they can. But if those revenues are associated with advertising on fan sites, the artists themselves may have a greater claim to them. Of course, any fan site would be pretty lame without the music. But who gets what cut is all up in the air right now and the artists are in the driver’s seat because nobody fans a record label. We might be seeing a shift in power between artists and labels. Of course, it helps if you are 50 Cent and you own your own record label.

 

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March 05, 2008

P2P Music Service Qtrax Signs New Licensing Deals

(* Source: Mark Hefflinger *) 

 

 

 

 

Qtrax, a company developing a free, legal, music file-sharing service, announced on Tuesday that it has signed new licensing deals with Sony/ATV Music Publishing and TVT Records, and extended an existing agreement with EMI Music Publishing. The deals with the music publishers do not immediately give Qtrax the right to offer their repertoire, as the company must also secure licenses from the record labels themselves.

The deal with TVT, a label that filed for bankruptcy last month and filed the majority of its staff, will give Qtrax users the ability to download tracks from artists including Ying Yang Twins, Lil Jon and Sevendust for free.

New York-based Qtrax generated some controversy when it claimed at the MIDEM conference in January that it would launch its service with over 25 million tracks, but later conceded that it had not yet obtained the requisite licenses from the major labels to offer their catalogs.

 

 

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March 04, 2008

Practice What You Preach: Nine Inch Nails Gives Away New Album

(* Source: Stan Schroeder *) 

 

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It’s not like we doubted him, but Trent Reznor really meant it when he said that he hates the way the music industry operates and that he encourages sharing of his music on the internet. Nine Inch Nails have put up the first volume of their album ‘Ghosts’ on torrent sites, under a creative commons license. If you want the whole package of the multi volume album (36 tracks!), though, you can go over to NiN’s official site and download it for 5 bucks. You can also order a 2xCD box set for a mere 10 bucks, “deluxe limited edition package” for 70 bucks, and you can get an “ultra-deluxe limited edition package” for $300.

Let me just stop here for a second and say that personally, I haven’t listened to NiN much since the Downward Spiral phase, but if there’s one album I’m gonna buy this year (I usually go to concerts and buy t-shirts, as I feel the band profits more directly from this; I have quite a collection), it’s going to be this one. Finally, you get good value for your money, and you get a fantastic number of options which cater to every pocket. I’m sure that fans will realize this and get the option they can afford, be it free, or the ultra-deluxe one.

Here’s what the band has to say about BitTorrent:

Now that we’re no longer constrained by a record label, we’ve decided to personally upload Ghosts I, the first of the four volumes, to various torrent sites, because we believe BitTorrent is a revolutionary digital distribution method, and we believe in finding ways to utilize new technologies instead of fighting them.”

I couldn’t have said it better.

 

 

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March 01, 2008

Facebook Dives Into Music; Competitor Lies Within

(* Source: Digital Music News *) 

 

Facebook has now stepped up its music ambitions, though the biggest competitor may not be MySpace.  On Thursday, the Palo Alto-based Facebook revealed its music section, which allows artists to create specialized profile pages.  The pages can include a collection of elements, including streamed content, paid downloads through iTunes, and merchandise sales through Musictoday.

That offers a direct challenge to longtime heavyweight MySpace, which hosts more than 8 million band pages.  But Facebook users are already accustomed to viewing and interacting with their favorite artists, thanks to the quickly-growing iLike.  The made-for-Facebook application currently houses half-a-million bands and nearly 22 million fans, according to figures shared this week.  

For many artists, that spells redundant profile pages, and potentially confusing situations.  For Facebook, it spells overlapping business objectives, and potentially conflicting pitches to artists.  In a chit-chat with Digital Music News this week, iLike chief executive Ali Partovi acknowledged the issue, though like Facebook, Partovi's competitive focus is clearly MySpace.  Meanwhile, bands may be uneasy about creating yet-another profile page, especially within the same network.

 

 

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February 29, 2008

RIAA Keeps Settlement Money, Artists May Sue

(* Source: Enigmax via TorrentFreak *) 

 


 

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Despite collecting an estimated several hundred million dollars in P2P related settlements from the likes of Napster, KaZaA and Bolt, prominent artists’ managers are complaining that so far, they haven’t received any compensation from the labels. According to a lawyer, some are considering legal action.

Lawyer John Branca, who has represented the likes of The Rolling Stones and Korn, said: “Artist managers and lawyers have been wondering for months when their artists will see money from the copyright settlements and how it will be accounted for.”

Irving Azoff, who manages Christina Aguilera, The Eagles, Van Halen, REO Speedwagon and Seal (amongst others) says it’s hard for artists to get what they deserve from the labels: “They will play hide and seek, but eventually will be forced to pay something,” he said. “The record companies have even tried to credit unrecouped accounts. It’s never easy for an artist to get paid their fair share.”

 

More here 

 

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February 28, 2008

Apple Now 2nd Largest U.S. Music Retailer Behind Wal-Mart

(* Source: Mark Heffliger *) 

 


 

 

 

 

 

 

 

 

Apple announced on Tuesday that its iTunes Store is now the second-largest music retailer in the U.S. behind Wal-Mart, having leapfrogged retail chain Best Buy in the latest figures from market research firm NPD Group. The company pulled ahead of then third-place U.S. music retailer Amazon.com last June, according to NPD's rankings.

Apple also announced that there are now over 50 million iTunes Store customers, and that the company has now sold over four billion songs -- including 20 million sold on Christmas Day 2007 alone.

"We'd like to thank the over 50 million music lovers who have helped the iTunes Store reach this incredible milestone," said Eddy Cue, Apple's vice president of iTunes.