Independent artists have never had access to so many customers. A single distributor can get an artist’s music into digital services around the world. U.S. artists were getting Spotify royalties before the service was available stateside. Now they’re getting royalties from Deezer, Bloom.fm and other services not yet available in the States. Since distributors have added their catalogs to YouTube, independent artists can reach listeners through the world’s most popular video service.
Billions were too small to measure the number of streams tracked by Next Big Sound in the first half of the year. In its mid-year report issued this week, the music analytics company says it tracked a gigantic 1.03 trillion music streams from a host of popular streaming services.
“The mission here is full transparency in the music industry,” writes Next Big Sound, smartly acquired by Pandora three months ago in its report of social data on the music industry, in a report describing the growth of music streaming and social media’s impact on the business. (On being bought the company writes that its response “is a self-satisfied grin… we now have the most comprehensive overview of the industry we’ve ever been able to deliver.”)
The headline number in the report is 1,032,225,905,640, or 1.03 trillion, the number of song plays on Pandora, Rdio, Spotify, SoundCloud, Vevo, Vimeo and YouTube that the company tracked in the first six months of this year. It’s a startling number, much larger than anything we’ve seen before it.
Sourced through Scoop.it from: www.billboard.com
Before 1972, there was no copyright protection for sound recordings, at least not on the federal level. Since then, the rules surrounding SR copyright have changed quite a bit, particularly in the age of digital streaming. This article looks at how music’s copyright laws have developed over the years and how these developments have affected revenue.
Sourced through Scoop.it from: www.hypebot.com
“In ripped white jeans and a midriff-baring SoundCloud T-shirt, 20-year-old Toni Romitibelts one of her modern R&B-flavored songs to a roomful of strangers. She hits the notes, bobs to the beat, flips her long, magenta-streaked hair. Still, as she finishes her opening number, there’s a hint that she’s not yet a polished live performer: “That was the first one,” she says abruptly.
Her audience is all enthusiasm. Romiti is singing to the New York office of SoundCloud, the fast-growing Internet audio service that’s attempting to turn the corner from popular app to viable business. SoundClouders, as the company refers to grass-roots music makers such as Romiti, are the soul of the enterprise. If her career takes off, she’ll owe much to SoundCloud. She made her first recording on its app and has since attracted 70,000 followers and scored a handful of gigs she hopes will lead to a tour. When her first successful song took off, she recalls, she was getting 1,000 plays an hour. “I just sat at my computer and cried all day,” she says. “SoundCloud changed my life.”
Sourced through Scoop.it from: www.bloomberg.com
Studying the dumbness of popular music
When someone says “literate songwriting,” I think of Lauren Hill, Nas, Tupac, Eminem, Kanye West.
But let’s think about it more… literally, as songwriting that requires the listener to have some level of reading proficiency.
If we printed out the lyrics for 225 recent #1 songs onBillboard‘s Pop, Country, Rock, and Hip Hop charts, we’d see that the “texts” of modern popular songs now average between a 2nd and 3rd grade reading level — which is down from a 3rd-4th grade level a decade ago.
Jeff Price slaps his hands on his desk. As he details the flaws he’s found in the music industry since the early 2000s, his words fly out faster and faster until he has to stop to breathe in the middle of a sentence.
Congratulations, graduates! You’ve earned your degree, stepped out for one last wistful toss of the frisbee, and completed your final celebratory keg stand. The future is yours. You’ve made it. You’re ready for the real world—or at least ready to stare into the abyss of post-graduation ennui. Maybe you have a job all lined up. Good for you, you go-getter! Maybe you’ve realized, with increasing dread, that none of the jobs you bulk applied to on Gorkana.com are going to get back to you. Maybe you still have no idea what you want to do with yourself because the only thing you like is music. But don’t start panicking; stay calm. There’s hope.
It’s a new day, with plenty of different ways for artists and producers to earn online. Take a look at the breakdown, and make sure you’re getting what you deserve for your music.
Sourced through Scoop.it from: icdn3.digitaltrends.com
Earlier this year, on Valentine’s Day, much of the internet was enamored of Drake. The Toronto rapper’s commercial mixtape, If You’re Reading This It’s Too Late, which had been released with little warning two nights before, was played more than 6.8 million times on Spotify, the world’s largest music streaming service, more than doubling the previous single-day streaming record. Like a capricious lover, however, that same record would soon move on to another. Almost exactly one month after Drake’s mixtape, and a week ahead of schedule, Kendrick Lamar crashed streaming servers with a surprise release of his own — his second major-label album, To Pimp a Butterfly, which demolished the record set by If You’re Reading This by racking up an unheard of 9.6 million streams on its first full day of release.
These days we are working with more independent artists than ever. Artist have big dreams, but the reality is, the new business can be a nightmare. Our goal at www.arkatechbeatz.com is to empower artists and producers about the music business, and support them on their journey. We came across some info in regard to what the major streaming companies are paying artist. It isn’t pretty. Shout out to www.tidal.com for trying to do the right thing when it comes to streaming and artist royalties.