With the music business trade fair MIDEM set to draw more than 6,000 attendees from 70-plus countries to Cannes from June 5 to 8, an annual industry report finds that 67 percent of the world’s music is still sold outside the United States.
Streaming monetization is polarized between premium subscriptions on one end and free streaming on the other. The middle ground that was the scale heartland of the CD and the download is disappearing and taking with it the mainstream consumer. It is into this environment Rdio just announced a new $3.99...
Vincent Bolloré a beaucoup parlé vendredi de la plateforme de vidéos que Vivendi va racheter à Orange, lors de l’assemblée générale des actionnaires. Dailymotion doit permettre « aux talents de Vivendi de converger. » L’AG a confirmé les droits de vote doubles qui renforcent le contrôle de l’homme d’affaires breton.
New digital music services keep popping up every day. It’s hard to keep up. Did you know, for example, that you can now connect your Spotify account to Uber and listen to your own music when you use the taxi-like service?
To keep up with these types of problems, Gracenote just announced the new hire of Ethan Kaplan — founder of Live Nation Labs and former Warner Music executive. Kaplan will be in charge of Gracenote’s music business, navigating the path between technology and the music industry.
D17 s’associe avec le SNEP* et la SCPP** pour diffuser pour la première fois en télévision LE TOP STREAMING, le classement hebdomadaire des meilleures écoutes en streaming. Chaque semaine depuis son lancement en septembre 2014, près de 50 millions d’écoutes...
La carte de la proximité jouée par les Indés Radios, l'ouverture des espaces publicitaires de Radio France à de nouveaux annonceurs, l'affaire Gallet, la Radio Numérique Terrestre, la stratégie digitale, la concentration... Sur BFM Business, Jean-Eric Valli le président des Indés Radios, a abord...
As digital media channels continue to proliferate, companies with a flexible digital asset management strategy will be well positioned to quickly accommodate rapidly changing distribution channels.
As rich media content explodes, media companies must build one central organizational mechanism that works the same way across all the content. The key, says Petricola, is metadata—data chunks that describe and categorize digital content to provide better search engine visibility, increased audience engagement, and better-targeted advertising opportunities for online video publishers.
The problem is, not all content has usable metadata, particularly older pieces. “Many companies with large, rich media holdings are faced with the issue of metadata, because it directly affects their ability to quickly search and find content,” Petricola says. “Ten or fifteen years ago, people said that content was king,” he says. “Today I think that metadata is king. If you don’t know what you have, then the millions of hours of content in your archives are essentially useless.”
As a result, many companies are looking to reverse-engineer quality metadata into this older content. Some outsource the job to companies that watch each video and manually add metadata. Others are opting for new technologies that can automatically generate metadata by analyzing video content. “For example, facial recognition technology can identify people in a video and add their names as they recognize their faces,” says Petricola
For decades, the music business ran largely on instinct: magic ears, gut feelings, weird hunches. Success had a thousand fathers, as well as a certain mystery. Label executives knew a hit when they heard one, and they promoted it until the public agreed -- or not.
MIDiA has just published its latest report on the global radio market: Radio’s Streaming Disruption: How Streaming And Smartphones Disrupt Radio Audiences. Here are some highlights from the report. MIDiA clients can get the full report and data sets here. Along with TV, radio is one of the most pervasive media platforms on the planet. It is also still one of the key drivers of music discovery. But things are changing. Historically Radio broadcasters had their audiences protected in the safe confines of dedicated devices and direct competition was thin on the ground. But audiences now have choice and spend progressively more of their entertainment time on multifunction devices.
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