The idea of a blank media levy is not at all new. The debate has been around since cassette tapes enabled affordable, large-scale private copying. Today, it seems as if this idea is losing importance given that the ‘access’ model of music consumption is gaining ground against the prevailing ‘ownership’ model in which music is purchased and technically ‘owned’.
You’re an independent artist about to release your first album in four years. On release day, in addition to making the album available via download stores and streaming, you give away free downloads of the whole album away on NoiseTrade. Crazy? No. Josh Garrels' new album Home just charted on Billboard despite (or because of) also being available for free.
U2's automatic installation of "Songs of Innocence" may have had Apple customers throwing temper tantrums, but a recent study presents data that suggests 95% of iOS users who listened to U2 in the month of January sampled songs from the new album.
2014 was the year many of us realized that Spotify and other streaming services aren’t doing right by our favorite artists, but breaking it off can be hard. Peter Getty explores new ways to discover music in 2015 on PeterGettyMusic.com
A small group of very vocal musicians has decided that the new target of their anger, after attacking cyberlockers, search engines and torrent sites, should be legal, authorized streaming services. They've decided that the payouts from these services are simply too low, even though almost none of these services are anywhere close to profitable, and most are handing out the vast majority of their revenue to copyright holders. The complaints are often nonsensical.
Guest Post by Mark Mulligan on Music Industry Blog
2014 was a big year for streaming, 2015 will be bigger. Apple entering the fray is the catalyst. Apple enters a market when it is ready for primetime. Apple lets the pioneers establish the market, prove the model and create consumer mindshare before it comes in and most often assumes a leadership role. Apple is certainly leaving it later than normal with subscriptions but it is still the same classic follower model, and the marketplace knows it.
"The argument for the Pono Player sure is appealing - that we don’t know what we’ve been missing in our music," wrote David Pogue for Yahoo! Tech about Neil Young's $400 hi-def music player and $25 album downloads. "Unfortunately, it isn’t true."
The overall value of the German recorded music industry ticked 1.8% from its total size in 2013 and increasing its lead over the UK market that it first gained in 2011. The data, compiled by the Federal Association of the Music Industry (BVMI)market research company GfK Entertainment, showed that the German market had a total size in 2014 of €1.48bn.
Guest Post by Alex Bardanes on Songtrust Blog
I don’t need a publishing administrator because I’m already affiliated with ASCAP right? Don’t these two entities perform essentially the same function? Actually, they perform very different functions, but work together to achieve the same simple goal; getting you paid. But what does a Performing Rights Organization (PRO) actually do?
Guest Post by David Blue on GEOclubbing.com
It’s no stretch to say 2014 wasn't SoundCloud’s finest hour. High profile defections, disappointing app releases, allowing labels to unilaterally kill tracks... oh my! These actions certainly raise an eyebrow, but we at GEOclubbing wanted to look beyond the buzz to see how SoundCloud usage is actually trending in line with recent news.
SoundExchange released it's 2014 year end numbers this morning, revealing a new record for the company of $773 million in royalty payouts to recording artists and record labels. 2014's total payout is up 31% from the $590 paid out to artist and labels the year prior. The fourth quarter of 2014 also brought with it a significant increase in distribution with more than 38,000 payouts totaling approximately $183 million.