Could Messaging Apps Kill Music Streaming Services? – Cuepoint – Medium
WhatsApp and other one-to-one applications may impact how we share and consume music in the future
If you have any spare time this week, it’s worth spending some of it digging through Michael Wolf’s massive tech industry prediction deck. There’s a ton of stuff to comb through and play with, but one of the most interesting things I saw was the astronomical rise of messaging apps, specifically WhatsApp. That one-to-one or small group communication is taking off is an interesting counterpoint to the services that encourage users to share their thoughts and images with the entire world. It’s also worth considering how the rise of messaging apps will impact how we share and consume music in the future.
There are a handful of music messaging apps, including Music Messenger, which raised $30 million before being pulled from the Apple and Android app stores (womp womp). There’s also Rithm, MSTY, and Ditty, all of which have users, but none of them seem to have exploded. Given the way things are going, it probably won’t be too long until one of these services, or something similar, starts blowing up. The question then becomes: what does it look like when people start consuming music one-to-one, or in small groups, rather than on big library-style platforms?
Sourced through Scoop.it from: medium.com
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.
“Music is important,” says Price, the former owner of the indie record label Spin. “Music has inherent value. And if you want to use music, you’ve got to fucking pay for it.”
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.