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MEPs to vote on easier licensing rules for online music providers

MEPs to vote on easier licensing rules for online music providers | Music Business - What's Up? | Scoop.it

More than 500 licensed digital music services operate worldwide, but only one of them is available in all EU member states. The multitude of licences and collecting societies makes it hard for service providers to offer their services across the whole of Europe.

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U.S. Music Streaming Market Worth $2.7 Billion By 2019 - hypebot

U.S. Music Streaming Market Worth $2.7 Billion By 2019 - hypebot | Music Business - What's Up? | Scoop.it

MarketResearch.com has just released a report which forecasts the U.S. music streaming market to grow at a compounded annual growth rate (CAGR) of 20.5% between 2014-2019, driving market value to $2,780.1 million by the end of 2019.

 

With last week's publicity on Taylor Swift and Apple, it's no surprise that online music streaming gained more attention. According to a report by publisher TechNavio, global music streaming by key vendors such as Apple, Deezer, iHeart Media, Spotify, Pandora, and more is expected to grow globally at a CAGR of 12.57% over the period of 2014-2019.

 

The U.S. has an anticipated CAGR of 20.5% for the period of 2014-2019.

For 2014, the subscription services segment of online music streaming reached revenues of $799.0 million, equivalent to 73% of the market's overall value.

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Taylor Swift's '1989' won't be on Apple Music, and that's the point

Taylor Swift's '1989' won't be on Apple Music, and that's the point | Music Business - What's Up? | Scoop.it
Taylor Swift's "1989" won't be available on Apple Music, but the service still has benefits and synergies that will make it different than Spotify or Tidal.
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Is the Long War Between American Radio and the Record Business About to End?

Is the Long War Between American Radio and the Record Business About to End? | Music Business - What's Up? | Scoop.it
It's just like old times. In a skirmish nearly a century old, the broadcast radio and recording industries are squaring off once again, over master recording performance rights.
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What Live Nation's Bonnaroo Buy Means for Indie Festivals

What Live Nation's Bonnaroo Buy Means for Indie Festivals | Music Business - What's Up? | Scoop.it
The large festival business, once an opportunity for entrepreneurs to enter the game, has become increasingly devoid of independent players as as the live music business shifts to tours bankrolled by global promoters.
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Senate Examines Songwriter Compensation In Effort To Determine The Worth Of A Song - hypebot

Senate Examines Songwriter Compensation In Effort To Determine The Worth Of A Song - hypebot | Music Business - What's Up? | Scoop.it

Since May 2013, the House Judiciary Subcommittee on the Courts, Intellectual Property and the Internet has undertaken a comprehensive review of the entire Copyright Act, including many issues of importance to musicians and songwriters.


But the Act is not the only regulatory structure that impacts how creators are compensated. On Tuesday March 10, the Senate Judiciary Committee on Antitrust, Competition Policy, and Consumer Rightstook a look at another piece of the puzzle: the “consent decrees” that govern America’s two largest Performance Rights Organizations (PROs), ASCAP & BMI


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One Third of US Consumers Still Buy Music Downloads, Despite Streaming's Gained Momentum - hypebot

One Third of US Consumers Still Buy Music Downloads, Despite Streaming's Gained Momentum - hypebot | Music Business - What's Up? | Scoop.it

Although music streaming is getting the biggest headlines these days, recent research from MusicWatch, a company providing consumer research for the music industry, indicates that consumers have not entirely given up on paid music downloads. In fact, one third of U.S. consumers purchased music downloads last year. 

 

According to recently released data from the Recording Industry Association of America (RIAA), paid downloads accounted for 37 percent of U.S. music revenues, while streaming contributed 27 percent.

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20% of people online are music pirates - but most know it's theft - Music Business Worldwide

20% of people online are music pirates - but most know it's theft - Music Business Worldwide | Music Business - What's Up? | Scoop.it

New evidence suggests that one fifth of all fixed-line internet users across the world regularly access services offering copyright-infringing music.

 

The stat comes from global record label trade body the IFPI, and is based on consumer data from ComScore and Nielsen.

When you consider that there are more than 3 billion people online in the world today, the severity of the music business’s ongoing piracy problem becomes clear.

 

Indeed, in its new Digital Music Report, the IFPI estimates that across 2014, there were 4 billion music downloads via BitTorrent sites alone – not taking into account cyberlockers, social media and other sources of pirated material.

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Independent Music Videos Gain Acceptance

Independent Music Videos Gain Acceptance | Music Business - What's Up? | Scoop.it
TORONTO, ON--(Marketwired - April 16, 2015) - YANGAROO Inc. (TSX VENTURE: YOO) (OTCBB: YOOIF), the industry's leading secure digital media management company today announced that its research shows that over 50% of independently produced music videos have been accepted for airing by major national music video networks in the U.S....
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10 things we learned from a day of indie labels talking digital music

10 things we learned from a day of indie labels talking digital music | Music Business - What's Up? | Scoop.it

Playlists are an important new currency on streaming services, from those created by fans that have picked up hundreds of thousands of followers, to the ones curated by labels, and the ones on Spotify’s homepage created by its own editorial team.

 

Getting songs on to popular playlists is increasingly important to labels, but there may be potential for shenanigans.

 

Some indie labels worry that major labels will start putting more pressure on Spotify to include more of their songs, while others note that some independent creators of popular playlists are hoping to charge money to add tracks – in the same way that some YouTube gamers have started charging developers to put their games in a video.

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The music industry wants to fight the internet again—and it’s probably going to lose

The music industry wants to fight the internet again—and it’s probably going to lose | Music Business - What's Up? | Scoop.it
Trying to cut off free music streaming services may just drive everyone back to piracy.
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Playing to our strengths by tuning up the Irish music industry - Independent.ie

Playing to our strengths by tuning up the Irish music industry - Independent.ie | Music Business - What's Up? | Scoop.it

We now have an opportunity to position Ireland as the world's leading location to create music. By investing in our music, we're investing in our economic future.

 

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Nearly Half of YouTube's Top Channels Are Music-Related... - Digital Music News

Nearly Half of YouTube's Top Channels Are Music-Related... - Digital Music News | Music Business - What's Up? | Scoop.it
…from TubeFilter’s Top 50 Most Viewed Channels In the US (week ending 2/20/2015).
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iTunes Is Removing Music From Indie Labels To Promote Major Artists

iTunes Is Removing Music From Indie Labels To Promote Major Artists | Music Business - What's Up? | Scoop.it

While the eyes of the music industry are all pointed in the direction of Apple’s forthcoming interactive streaming service, which many expect to launch this year, the company has been busy cleaning house and making big changes in its famous download store.

 

Label executives believe the changes being made to iTunes are tied closely to whatever the tech giant is planning for its revamped Beats digital streaming service, though not all of them are enthusiastic about the changes being made to the world’s biggest digital music retailer.

 

As Billboard reports, on the surface, the changes appear to benefit major labels at the expense of independent outlets, leaving the indie sector with a diminished standing compared to where they were previously inside of the store, which is to say competitive.

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Digital now over half of many indie labels’ income

Digital now over half of many indie labels’ income | Music Business - What's Up? | Scoop.it

A new study by independent rights body Merlin has found that digital income now makes up over 50% of the income of over half of its members. For a third of its members, digital accounts for 75% of overall revenue.


It has found that streaming is a key driver of growth for labels and is making up for the decline in download revenues that 36% of members reported experiencing. Three-quarters of respondents said that their digital revenues overall increased in 2014 – with 17% saying that digital income was up by over 50%. A significant number of members (8.6%) actually said their digital revenue had doubled from the previous year).

A third of respondents said that streaming is now their primary source of digital income. That said, 11.2% of respondents said they saw a decline in total digital revenues last year.


Some 17.9% of members said their streaming income has doubled and 44.5% said it has grown by 50% or more. Against this, however, 1.75% said they witnessed a decrease in streaming income.


Earlier this year, the IFPI published in Digital Music Report and found that, on a global level in 2014, digital income was exactly the same as physical income for labels (46% each with the remaining 8% coming from performance rights and sync).


Concurrent analysis of 9bn streams has found that indie repertoire is 35% higher on paid tiers on streaming services compared to ad-supported tiers. This puts the importance of the standoff last week with Apple Music (over planned non-payment of royalties during its three-month trial) into sharp relief and reinforces previous studies by Merlin that indie label content punches above its weight on streaming services.

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Record labels back indie muso's bid to snatch .music from web giants

Record labels back indie muso's bid to snatch .music from web giants | Music Business - What's Up? | Scoop.it

Roussos application was developed to provide a voice and outlet for musicians and his company has spent years building endorsements from more than 100 global music organizations large and small.

 

"Our community-based initiative for .music has assembled the largest global music coalition in the history of music to support a music cause," he told El Reg. "It represents over 95 per cent of music consumed globally."

 

That combination of artist-led organizations - and now music industry support - will put significant pressure on the independent company that ICANN pays to evaluate community applications to approve the application given its previous report. According to Roussos, the bid will "exceed all ICANN community requirements".

 

Roussos has himself exceeded all expectations with his bid, having been written off almost from the start. The amateur musician and entrepreneur was passionate about his bid, but faced with well-organized and deep-pocketed competitors, many of whom have already spent tens of millions of dollars on acquiring new internet extensions (Google paid $25m alone for '.app'), few gave him much chance of success.

 

It is that focus on the musicians themselves that has led to the music industry's decision to back him: all the other applicants for the name will make the extension available to anyone that wants a '.music' address, whereas DotMusic will limit addresses to musicians and the broader music industry. The company has also taken a strong stance on piracy.

 

"The DotMusic mission is create a safe haven for legal music consumption under a trusted, secure and authentic .music top-level domain," Roussos told us. "Our objective is to create the standard for validated music websites operating under music-tailored policies that enhance legal music consumption, protect copyright and eliminate cybersquatting."

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Apple Wants Us to Pay for Music All Over Again

Apple Wants Us to Pay for Music All Over Again | Music Business - What's Up? | Scoop.it

After buying Beats, Apple’s made a few recent moves that show the company may be set to change how users stream music. One of the latest moves, reported by The Verge, is that Apple is trying to convince music labels to not to renew their free music streaming licenses with Spotify. Apple’s reportedly trying to convince labels that offering up their music for free is a bad idea, and that it’s about to have a much better option.

 

And that’s a pretty easy sell these days. Ad-based streaming services don’t provide much revenue for artists, and music labels prefer that music listeners access music through a paywall.


The biggest example of this so far has come from Taylor Swift, who pulled her music off of Spotify earlier this year. According to Quartz, Swift’s move away from Spotify has encouraged Universal and Sony — which control more than half of the music market — to doubt the benefits of the freemium (ad-based) music streaming model.

 

The same article said that Sony Music CEO, Doug Morris, told Hits Daily Double that, “In general, free is death,” meaning that the music industry can’t survive if free music steaming persists.

 

If Apple can convince labels that its new service will bring the labels more revenue, then it could launch its new service with the backing of the industry (something which it appears Spotify might be losing right now).

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TuneCore Revenue Up in First Quarter

TuneCore Revenue Up in First Quarter | Music Business - What's Up? | Scoop.it
Digital distributor TuneCore's revenues rose 5 percent to $36 million in the first quarter, mirroring the slowed growth in the digital music markets of the United States and other large markets. The U.S. digital recorded music market climbed 6 percent last year while the U.K. market rose just 0.5 percent, according to IFPI figures released last week.
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The Past Year For Music Startups, The Success of Nexflix, And The Niche Side of Music Streaming - hypebot

The Past Year For Music Startups, The Success of Nexflix, And The Niche Side of Music Streaming - hypebot | Music Business - What's Up? | Scoop.it

One of the things that has troubled Spotify, and Deezer, and Rdio, and pretty much everyone, is the fact that people don't — and we've said this time and time again — people don't want 20 million songs. They want the 20 songs that they want to listen to right now, or the 20 songs that they're going to listen to and going to like. In December, news broke that SFX is relaunching Beatport as an EDM streaming service. It's still a pretty huge range, but it's much more genre specific. Then, yesterday it was announced that a service company called the Overflow that is going focus on streaming Christian music. Do you think these services provide any sort of interesting solution to this problem of going to Spotify and seeing just way too much content?


Maples: Absolutely. I think there's no doubt that a genre-specific or styles-specific service would do a lot better because they can differentiate on catalog. It's not so much that they have it or they don't. With most of these all-access, 20 million track, on demand services having a search button and a warehouse, they can differentiate on it by the way that they're able to curate, and bring the content directly to the person that cares about that.

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Four trends that will shape future of music in Africa

Four trends that will shape future of music in Africa | Music Business - What's Up? | Scoop.it
It’s clear that consumers are hungry for content they can identify with, and content that is easily accessible on various mobile platforms, writes Hennie Theron
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Downloads and streaming has taken over the music industry but it's increasingly difficult to regulate

Downloads and streaming has taken over the music industry but it's increasingly difficult to regulate | Music Business - What's Up? | Scoop.it
The time's they are a changing.
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Tips from the pros: how indie labels make the most of streaming playlists

Tips from the pros: how indie labels make the most of streaming playlists | Music Business - What's Up? | Scoop.it

Playlists are an important new currency on streaming services, from those created by fans that have picked up hundreds of thousands of followers, to the ones curated by labels, and the ones on Spotify’s homepage created by its own editorial team.

Getting songs on to popular playlists is increasingly important to labels, but there may be potential for shenanigans.

Some indie labels worry that major labels will start putting more pressure on Spotify to include more of their songs, while others note that some independent creators of popular playlists are hoping to charge money to add tracks – in the same way that some YouTube gamers have started charging developers to put their games in a video.

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Evan Komora's curator insight, April 13, 10:57 PM

 I found the article to be credible, Musically.com is a reliable source. This topic is more based on personal experience due to how new and advance it is into the industry. My personal experience with my own label "Street Poetics Entertainment" I make most of my money from online streaming sites such as Spotify, Rhapsody, and Pandora, The pro is that as long as you have an active following and active fan base, you will be succesful as and independent label. The cons are if you are just getting your name out there, putting your music on sites such as these ones is not a bad idea. But you will be over ran by bigger labels and artists. 

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Promise Of Digital Royalties For Producers, Mixers, And Engineers In New House Bill - hypebot

Promise Of Digital Royalties For Producers, Mixers, And Engineers In New House Bill - hypebot | Music Business - What's Up? | Scoop.it

The Allocation for Music Producer Act (AMP) will be presented to Congress this week with bipartisan support. The bill aims to redistribute digital royalties in a way that fairly compensates producers, mixers, and engineers. 


Previously left to their own devices when negotiating their fair share of digital royalty payouts, producers, engineers, and mixers would have a statutory right to receive royalties managed through SoundExchange under the AMP Act. The new bill will be formally introduced to Congress with representation from both sides of the aisle by Joe Crowley (D-New York) and Tom Rooney (R-Florida).

 

"Without producers and engineers, the music we enjoy every day couldn't make it from the recording studio to our radios and phones," said Rooney in a statement via Billboard. "Our bipartisan bill makes sure that hardworking studio professionals receive the royalties they earned in a fair and streamlined manner."

 

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New Music Industry Revenue Figures Show an Illusion of Stability

New Music Industry Revenue Figures Show an Illusion of Stability | Music Business - What's Up? | Scoop.it

The RIAA released its annual recorded music revenue figures for 2014 this past week.  The numbers tell the story of changes in the digital music market that have been familiar for the past few years: on-demand music services up, digital radio up, download sales down, CD sales even further down ...

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Music publishing firm Kobalt raises $60 million funding from Google, Dell

Music publishing firm Kobalt raises $60 million funding from Google, Dell | Music Business - What's Up? | Scoop.it

Founded in 2000 by its CEO Willard Ahdritz, Kobalt, which is an independent administrative publishing company-cum-label service provider, offers services to independent artists. Kobalt’s services help artists keep a track of all the royalties that get earned through streaming or usage of their songs on any site around the World Wide Web. Kobalt’s sophisticated trackers scour the payment systems around the world and determine the amount of royalties receivable by artists who have hired Kobalt for its services.

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Spotify Cannibalization Is "Absolutely Bogus," Says Resigning Universal Music Exec... - Digital Music News

Spotify Cannibalization Is "Absolutely Bogus," Says Resigning Universal Music Exec... - Digital Music News | Music Business - What's Up? | Scoop.it

 

“We’ve conducted research with four of our artists, and every single one of those bands has earned more money from its album being on Spotify than it has from being on any other services within that period of time.  Some of them haven’t inflected yet, but the trajectory – assuming zero growth on subscriber levels on any of these services – inflects within five years.”

“The argument that streaming harms records sales is absolutely bogus.“

_____________________________________

Rob Wells, president of Universal Music Group’s global digital business, in a resignation letter this week:

“With a heavy heart but an incredible sense of accomplishment and pride, I write you today to tell you that I have decided to leave my position and to explain why.  While leaving isn’t easy, I take comfort in the extraordinary digital team that I am leaving behind–who have become more than just work colleagues but a true family–and the knowledge that whatever entrepreneurial opportunity I explore next, I will always have a close relationship with everyone at Universal Music Group, both here in the US and in every territory around the world.”

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