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"As soon as streaming becomes the leading way people consume music, it will highlight the issues surrounding revenue and business models for everyone involved and really pave the way to a new era — for both good and bad."
"Once smart, creative and connected people measure their performance by something else than number of sales, they’ll start working on replacing the main old model by a diverse number of new models." By David Dufresne (@DavidDufresne), CEO of Bandzoogle, a website builder and marketing platform for independent music artists.
n acknowledgment of the growing significance of audio within the digital landscape, the Internet Advertising Bureau UK (IAB) announces the formation of its first Audio Council.
IAB councils, of which there are now 16, are made up of likeminded and passionate experts from all areas of the digital landscape, with a range of expertise and skill sets.
The Audio Council is represented by online pure players Spotify, YouTube, Myspace, Last.fm, BlinkBox and Mixcloud; media owners Absolute Radio, Bauer and Global Radio; audio creative specialists Red Apple Creative; market research specialist AudienceNet; and radio advertising and creative specialists RadioWorks and Maple Street Studios.
Given the importance of music to consumers’ digital experiences, the IAB anticipates sustained growth in the years ahead and felt that there was no better time than now to launch a dedicated working group for this sector.
The IAB Audio Council's three key aims are:
To further educate the market; To help develop the future business models of the audio sector; To increase the value of the online audio advertising sector.
A key output for the group in 2013 will be a research project in conjunction with AudienceNet designed to show the scale of the audience for online audio and to examine consumer attitudes to advertising within this growing space.
The IAB will also be developing a new section on its website to feature case studies, research and videos designed to highlight the possibilities for brands looking to advertise in the online audio space.
The Council will meet on a quarterly basis to build on a number of initiatives completed in 2012 including a white paper which examined how consumers feel about advertising within an online audio environment.
The IAB’s Editorial Manager and Chair of the Council, Stuart Aitken, comments: “At the IAB we're always interested in working closely with key players of all sizes within sectors where we see great potential. Audio is one sector that we expect to experience enormous development in the coming months and years.
"This group is represented by some of the most exciting companies in not just the audio space, but in the digital sector as a whole. I am looking forward to working with all of them in the coming year."
Inactive accounts represented 70% of Spotify's registered accounts at the end of 2011 and 73% of Deezer's registered accounts this year. [Update: Deezer CEO Axel Dauchez tweeted on March 29 that Deezer’s inactive users account for 62% of registered users.] The important point here, writes Mulligan, is that "streaming services as a whole have a problem with churn." The term churn means loss of customers. Churn is expensive to companies because it is always more expensive to gain a new customer than to keep an existing customer.
But worrying about an unconverted, inactive group of registered users breaks with the logic of the Internet. Inactive users are just a part of doing business online. Getting people to register is just the first step. Not everyone will become a frequent visitor or paying customer. As Mulligan later noted in an update to the blog post -- after an exchange on Twitter with Spotify CEO Daniel Ek -- "this is a problem that affects all businesses that have a free tier that requires registration."
Inactive accounts are a part of doing business for many online services. For instance, a 2012 study found 70% of Facebook pages are inactive. Last year Semiocast found that 73% of Twitter accounts are inactive.
Launchpad Digital Media announced today the engagement of Edison Research to create standard metrics to measure the rapidly expanding audience from podcasts. Edison will collect and audit data from all Launchpad podcasts and generate monthly figures to show the scope and growth of the on-demand audio platform. Launchpad is a division of Norm Pattiz’s Courtside Entertainment Group and currently represents on-demand and streaming podcast programming that delivers over 90 million downloads every month.
Six years later, everything in the music and technology industries is pushing toward digital streaming. Last year, music-related startups received $619.3 million in new investment. Spotify has more than five million paying subscribers, proving that customers will pay rather than pirate every month for a rich library of music if it's inexpensive and available everywhere. (Later this year, Spotify will offer free, ad-supported music on mobile devices in all of its markets.) Soundcloud, the leader in user-created embedded audio, just simplified its paid, pro, and premium partnership tiers for heavy users, music labels, and brands. Google wants to start a music subscription service in the second half of this year, trading on its strong positions with both Android and YouTube. Hardware upstart Beats Electronics is building its own streaming service, Daisy, using just-acquired Mog as its backbone. Even Apple is finally embracing streaming in principle, negotiating royalty rates with music rights owners to add a new, complimentary service to its iTunes Store.
Le site de téléchargement de musique gratuite Beezik, lancé en juin 2009, ferme ses portes. Ce dernier, difficilement exportable à l’international pour des raisons liées aux exigences des maisons de disques françaises, ne correspond plus à la stratégie du groupe eBuzzing, présent à ce jour dans plus de 6 pays.
By Eliot Van Buskirk of Evolver.fm. We’ve been following the progress of Earbits, because it’s such an outlier in the internet radio arena. Witness how it experimented with charging bands rather than listeners.
MIDEM – Deezer, Spotify et leurs alternatives séduisent de plus en plus. Le streaming affichait sur l'année 2012 une progression de 32%. Les producteurs s'en félicitent. Quid des artistes, qui touchent moins d'un centime par écoute?
It's almost official: MySpace is planning on launching a music subscription next year. Given the company's roots and current situation, the strategy is probably the company's last, best hope at revival and relevance.
Miami based international Pandora competitor Senzari has acquired Disco Volante, the Berlin based startup and creator of mobile music service wahwah.fm.
Senzari, backed by $3 million in funding from 500 Startups and private angel investors, offers a Pandora-like listening experience. It's currently available in Brazil, Spain, United Kingdom and United States.
1. Les utilisateurs sont 20 fois plus enclins à cliquer sur les publicités in-stream que sur les bannières standards
2. 70% des publicités vidéo in-stream sont visualisées jusqu’au bout
3. Les publicités vidéo sont particulièrement efficaces pour les annonceurs de marques
4. Les publicités in-stream plus longues sont plus efficaces
5. 63% des annonceurs ont l’intention d’utiliser des vidéos in-stream en 2012
6. La consommation de video devrait représenter 50 % du traffic en 2012
7. Sur 40 millions d’Internautes en France, 30 millions ont regardé au moins une video en ligne, en décembre 2011
8. 63 % des français qui détiennent une tablette l’utilisent pour regarder de vidéos
9. La plupart des annonceurs paient un CPM entre 11 et 25 dollars pour les publicités vidéo
10. De 2011 à 2016, les dépenses publicitaires vidéo vont passer de 2 à 5,4 milliards de dollars
La vidéo in-stream permet aux annonceurs d’améliorer les taux de clics et la notoriété de la marque. Ce n’est pas pour rien que le volume des dépenses publicitaires ne cesse de croître à une vitesse surprenante. La vidéo en ligne occupant une place plus importante dans nos foyers et dans notre quotidien, la publicité vidéo en ligne deviendra sans aucun doute une composante phare des campagnes grand public. A défaut de l’inscrire dans votre stratégie, vous prenez le risque d’être distancé par vos concurrents.
Since its inception in the late 70s, and especially over the past ten years, ESPN "has moved aggressively into new media and platforms, without regard for how they may negatively impact the old. This strategy allows ESPN to squeeze more revenue out of any event it carries by selling that same contest in multiple formats, instead of merely broadcasting it on television." ESPN president John Skipper credits the success to a philosophy of "build, build, build. There comes a time when a lot of businesses become calcified, but we never stop building."
AOL annonçait vendredi dernier lors d’une réunion interne l’arrêt immédiat de l’activité de sa division AOL Music. Dévoilée en direct par les employés sur Twitter, cette fermeture n’avait pas fait l’objet d’annonce officielle et n’a toujours pas été commentée par le groupe américain.
Face à la concurrence de Spotify ou Pandora aux États-Unis, AOL Music rejoint ainsi les rangs de MSN Music, fermé par Microsoft en 2006, ou encore des services de divertissements de Yahoo!, arrêtés en 2008. Yahoo! avait déjà, un an plus tôt, mis fin à l’activité de MusicMatch, son jukebox musical acquis en 2004 pour 160 millions de dollars.
The deal – the financial terms of which remain a mystery – is important for both the connected industry and the Berlin start-up scene, which has long been holding out for a big exit....
The deal is reminiscent of Harman’s 2010 purchase of Aha Radio, whose in-car Aha platform is found these days in vehicles from Subaru, Honda and Acura. Aupeo, meanwhile, has partnerships with Mercedes, BMW, Mini and Pioneer for its platform, which covers news and weather, radio, podcasts and audiobooks, and also uses text-to-speech technology. As for Panasonic, that company is already involved in Chrysler’s Uconnect platform — as is Harman, albeit as developer of a hands-free communication system — and Chevrolet’s MyLink.
Spotify imagines a world with a billion users, healthily-paid musicians, and a scaled-out business model that makes sense. But right now, that isn't the reality, and it may never be the reality with music alone. Which is also why Spotify is plotting an expansion into video, and a move into Netflix territory.
Except now there's a twist, because struggling Spotify competitor Rdio has just beaten Spotify to the punch.
Pandora has been able to do what radio has not: generate significant revenue from mobile. In the quarter that ended January 31, Pandora generated $80.3 million from mobile. That's an increase of 111 percent over the same quarter one year earlier ($38 million).
For the year, Pandora doubled mobile revenue to $255.9 million. Even better news for Pandora is that mobile revenue is climbing faster than the growth of mobile listening.
Exclusive: Google is planning to roll out a music streaming service to capitalize on the power of YouTube...
Sources in the record industry told Fortune that it is not yet clear if a subscription-based model is more lucrative (and therefore preferable) to an ad-subsidized approach. Free nets more customers, but the subscription model has consumers actively paying for music -- a good thing, if you're in the music business, which just posted its first year-on-year increase in sales in thirteen years....
Google is entering an already crowded field: Spotify, Pandora (P), Rdio, Soundcloud, and Muve Music all offer customers similar access to large online music libraries. Apple is rumored to be building a "radio" feature in its iTunes program that would deliver streaming music based upon a user's tastes -- a service something like Pandora -- that further merges the experience of being in a "store" to purchase music, and then listening to it in a "player."
They're all fighting over a still small pie. U.S. consumers have been fairly slow to join -- and stick with -- subscription music services. The most popular, Muve Music, has just 1.4 million customers. (Spotify is close behind, with about 1 million.) Its success is in large part due to the fact that it bundles its price into a cellphone bill, as if it were a cable operator charging for an MTV/VH1 package. The mobile carrier that owns Muve, Cricket, is then able to sell subscriptions at less than $5 a month, far lower rates than Spotify, which generally costs about twice that much.
Soundcloud, a free music streaming site that is user-curated and is, in many ways, similar in spirit and practice to YouTube, has recently begun partnering with major artists and large companies, such as Snoop Lion (nee, Dog) and Red Bull. Soundcloud boasts that it is the fastest growing music streaming site, with its users uploading about 10 hours of content a minute. In 2010, YouTube users uploaded 35 hours of content per minute; in 2011, they posted 48 hours per minute; as of last May, it was up to 72 hours a minute. It's not all music, but a lot is.
In an effort to balance growing royalty costs, Pandora announced Wednesday that it will be eliminating unlimited ad-supported music streaming on the service via mobile.
Pandora listeners in the US will now be limited to 40 hours of free ad-supported streaming on their mobile devices each calendar month, after which they’ll have to pay a fee to keep listening $.99 in-app purchase.
Kennedy says that the average user on Pandora only spends 20 hours on the service across all platforms. He says that Wednesday’s announcement is likely to only effect 4% of Pandora’s monthly active listeners.
Cette semaine FrenchWeb organisait un atelier intitulé « Digital Music ». Celui-ci, animé par Pamela Hute, Auteur Compositeur, Laure Decailly, Fondatrice de MyTourManager, et Pierre Niboyet, Marketing Artist Manager chez Deezer, a permis à ses participants de découvrir les nouveaux services dédiés aux artistes et d’échanger sur les meilleurs usages.
• Co-organisés par Actuonda, AdsRadios, INA Expert • Partenaires institutionnels : Club des Annonceurs, Les Indés Radios, ESML, GESTE, SYROL, IAB France, Le Radio, Conseil National du Numérique, Cap Digital, RAIN Summit Europe, URTI • Live Radio stream : Moustic, VizionR & Smartjog • Sponsors Gold : Adswizz, Deezer, JFC Kantar, Saooti, VizionR, Yasound, Spotify, Médiamétrie, Radio France • Partenaires média: La Lettre Pro de la Radio, OffreMedia, Radio World, Rain, RadioWorld, RadioPub, Edition Multimédia, Satellinet, Clubic, FrenchWeb, Influencia, Radioactu, Le Club Radio
The music streaming world is one full of contrasts and inconsistencies. At one end We7 and MOG sell for peanuts; in the middle Rhapsody, Sony, Rdio, Wimp, Rara and others continue to steadily build a market; and at the other end Deezer and Spotify are sucking in investment with the force of a black hole. Spotify’s investment is well documented, but this week Deezer confirmed their seat on the fast train with a $100m investment from Access Industries, which also just happen to own Warner Music.
PRX is excited to announce the Global Story Project. This is an open call for great audio.
We’re looking for really groundbreaking and gotta-keep-listening stories — long-form works, segment length pieces, and reversioned materials — about people and situations outside of the U.S. that will help American listeners better understand the rest of the world.
Subscription music streaming is the new model giving labels hope. But how much room to grow do digital services really have? One analyst reckons the likes of Spotify are doing great, but may have limited growth potential.