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Streaming music can now claim 100 million paying customers

During its annual big event yesterday, Apple revealed that its streaming music platform has now been able to accrue 17 million paying customers, even though it is only just over one year old.

That’s a very impressive number, and it makes Apple Music one of the largest services in terms of paying subscriber numbers in the world. The jump in users is not just good news for Apple, it’s good news for the entire music industry. Thanks to some smaller players making big moves and the larger services collecting millions of new users all the time, the streaming music industry can now claim 100 million paying customers around the world, which is a very big deal for the ever-expanding business.

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Just a short time ago, new Spotify hire Troy Carter revealed that his employer now has 39 million paying customers listening to music, which is up significantly from when the company’s CEO tweeted that the Swedish giant had reached 30 million not too long ago. That number is just about the same number of subscribers satellite radio pioneer Sirius XM has collected over the years it has been in business. Add in the tallies of companies like Tidal, Napster, Deezer and a handful of others, and the millions truly begin to add up. In fact, there are probably more than 100 million paying subscribers in the world, but companies like YouTube and SoundCloud won’t reveal the subscription numbers connected to their newly-launched streaming music platforms just yet.

While 100 million is certainly a wonderful marker to pass, there are actually many more people out there streaming away, though not all of them are paying for it. Spotify alone has 100 million users, though only about 30-40% of them are paying for the privilege of ad-free listening. Converting those users already comfortable with the idea of streaming music, while also attracting new users by the boatload, is vital to ensuring that this new form of media consumption is able to survive the coming years.

100 million paying customers means that while there is still a lot that needs to be worked out when it comes to payments, technology, reporting, and so on, streaming music is picking up steam, and the masses have definitely chosen this method as their go-to for accessing music. Streaming music will be better for everyone involved-especially those looking to make a living off the music they create-as the industry grows, and the more people pressing play on songs and paying their monthly dues, the better. This is just one major milestone, and there are sure to be many more in the not-too-distant future, as the rate of people signing up and handing over their credit card information is rising almost as quickly as the numbers themselves.

 

Via Forbes

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German music market grows by 3.6%

The figures, released in July, show that Germany’s recorded music market grew by 3.6% in the first half of 2016. Total revenue from the sales of CDs, vinyl, downloads and the use of streaming services increased in value by a total of 3.6% over the same period in 2015. Audio streaming was the key driver for the growth, with revenue from premium subscriptions and ad-supported services, such as Spotify, Apple Music, Deezer, Napster etc., increasing by 88%.

Vinyl sales also saw a significant increase of 46.2% over the same period in 2015 with its market share rising to 4.3% (compared to 3.1 per cent in the first half of 2015). Sales of CDs declined by 9.6% in the first half of 2016 but remain the dominant format with a 52.3% share of sales. Overall, market figures show a split of 60.4% physical and 39.6% digital sales.

Das Schlossgrabenfest in Darmstadt.
Das Schlossgrabenfest in Darmstadt.

Professor Dieter Gorny, Chairman of Germany’s Federal Music Industry Association (BVMI) said: “These figures indicate that the process of digitisation is occurring even faster than we had previously thought. As music becomes increasingly a digital business, it is more important than ever to establish the right environment for the whole sector to adapt in this new world. A few weeks ago, more than 1,100 musicians and bands signed and sent an open letter to the European Commission, thus showing that artists – who are the nucleus of our entire industry – have serious concerns about the value gap and about their future. The truth is that if we don’t find a solution to this, it might have profound consequences in the future on the art and the profession of making music.”

BVMI Managing Director Dr Florian Drücke said: “The latest figures are heartening for two reasons; firstly, the German market continues to grow, thus enlarging the share of revenue for the whole sector. Secondly, the significant increase we are seeing in audio streaming makes it clear that our industry is successfully adapting to the digital world and has developed a compelling offer for music consumers.

“However, for this transformation to continue we much ensure that music content is sufficiently protected against copyright infringement – both online and offline – and that all participants are able to benefit fairly from the proceeds. Indeed, this is not about the future any longer, but about the digital present.”

Via: ICYMAG

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Spotify is planning to limit the lastest releases to premium-only subscribers

NY Post reported that music streaming giant Spotify is planning to limit the lastest, high-profile releases to premium-only subscribers. Spotify’s new move seems aimed at two things: require a free subscriber to have a Spotify premium account and driving more revenue around music superstars.

There was also a second model under discussion in which content would be limited entirely to premium subscribers. Another one would have “time-restricted exclusives for paying subscribers.” This seems to be what Spotify is aiming for, as the New York Post writes that the Swedish company, under tremendous pressure to create long-term deals with music labels in order to put off a “months-long impasse,” is willing to put in the “windowed” model similar to Hollywood releases. In this translation for streaming music, big releases would be paid only for a time, then free after a substantial wait.

Spotify Premium Index.
Spotify Premium Index.

Spotify is currently operating on “rolling month-to-month” contracts with the big three music companies: Universal Music Group, Sony, and Warner Music Group. Currently, Spotify pays out the big three labels around 58% of revenue. Sources close to the company told the Post that Spotify wants to lower its revenue split, and “make its finances more attractive to potential investors,” with current gross margins around 20 to 25%. Its rival, Apple Music, enjoys a much higher gross margin of close to 40% according to a Bloomberg report.

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Police Scotland have been under sustained criticism after random drug test

Police have been accused of trampling over civil liberties after surprising ­clubbers with snap drug tests.

Customers queuing outside clubs have been approached by officers who swab their hands for traces of illegal ­substances. Those who don’t co-operate are refused entry while those who test positive are questioned and face being searched and arrested.

Last weekend, officers turned up at Club Tropicana in Aberdeen with a drug-detection machine called an itemiser and a sniffer dog. They tested 100 people on the ­Friday and ­Saturday and a CCTV van monitored the club’s entrance.

Club boss Tony Cochrane said he was given an hour’s notice before police arrived and swabbed people in the queue. Officers failed to register any ­positive results for illegal drugs including cannabis, cocaine, ecstasy and heroin.

Police operation: Revellers have been surprised with snap drug tests outside nightclubs (stock photo)
Police operation: Revellers have been surprised with snap drug tests outside nightclubs (stock photo)

Cochrane said: “I ­support an anti-drug policy but I feel this latest action by Police Scotland is a step too far in regards to civil ­liberties. Officers stood at the club entrance and took sample swabs on customers entering with an expectation we should refuse admission to ‘non-compliants’.

When they returned the second night we managed to speak to a duty sergeant who was sympathetic to some of our points. We appreciate the work the police do but they’re achieving nothing with this policy.

People going for a night out are being made to feel like potential criminals. Anyone who saw a huge team of police with a sniffer dog and a CCTV van would think the club is a trouble spot, which is far from reality.

Police found nothing in two nights and said they won’t be back for few months. I’d like to know why they feel the need to come back at all. They’re wasting manpower and resources on making law-abiding citizens feel like suspects.”

Last week Justice Secretary Michael Matheson said the Scottish Government would ban police from stop-and-search unless they had ­”reasonable grounds” to believe a crime was being committed.

Officers have been able to perform consensual searches if a person agrees to co-operate. But a report by human rights ­lawyer John Scott QC said the policy was “of questonable lawfulness and legitmacy with poor ­accountability”.

Stop-and-search figures in ­Scotland are the highest in the UK at 600,000 in a year, with many of them young people. Police Scotland were told to rein in searches over fears that officers were driven by meeting targets rather than fighting crime.

Banning 'stop-and-search': Scottish Justice Secretary Michael Matheson
Banning ‘stop-and-search’: Scottish Justice Secretary Michael Matheson

Scottish Liberal Democrat leader Willie Rennie criticised the stop and swab tactic. He said: “Carrying out such tests without a suspicion of a crime is a heavy handed and indiscriminate tactic by the police. It’s why we stood firmly against industrial scale stop and search. Police Scotland need to review this tactic and explain how this helps address drug taking.”

Graeme Pearson, Scottish Labour justice spokesman and ex-head of the Scottish Drug Enforcement Agency, added: “Where police spring tests upon people and there’s a ­pressure to co-operate, it adds ­concern about the giving of consent and whether operations like this are appropriate. Whether or not there’s ­reasonable suspicion, it doesn’t ­create the kind of co-operative effort that one expects in community ­policing.”

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Task force formed in bid to make EDM events safer

The Los Angeles County Board of Supervisors has unanimously backed the formation of an “Electronic Music Task Force” to provide recommendations on making EDM festivals safer.

The move follows the deaths of two teenagers from suspected drug overdoses at LA’s HARD Summer electronic music festival earlier this summer.

According to Rolling Stone, the task force will “develop recommendations for enforceable health and safety measures and procedures, that would be required for all electronic music festivals on county-owned property”.

“I want to emphasise that our efforts around this motion, above all, are about the health and safety of those attending these events,” said LA County supervisor Hilda. “No lives should be lost while attending any music event.”

The task force, which will include reps from the sheriff’s and fire departments, council and health services, will deliver an initial report within 120 days, while the option of banning all EDM festivals in the county is still being explored.

 

Source : Music Week

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Stems

Stems – The world of DJing has changed forever.

What is the Stems ?
A Stem file is an open, multi-channel audio file that contains a track split into four musical elements: bass, drums, vocals, and the melody. The original stereo master of the track is included in the file as the ‘fifth’ stem.
The files are encoded using a 256bit AAC codec which generates a very high quality (mp4) audio file which is compatible for playback on a very wide variety of software and hardware.

A new generation of DJ controllers allows you to manipulate the individual elements of the track to create unique DJ sets. For example, in a live mix you can selectively use the vocal from one track on top of another track, or switch the basslines between two different tracks. These stem elements can also be used to produce or enhance your own tracks.

The Game has Changed
Have you ever wished you could isolate a vocal from one track and seamlessly place it on top of another? Have you ever wanted to effortlessly switch bass lines and drum patterns in the middle of a mix? Well with the latest open multi-track audio format ‘Stems’, creatively minded DJs and producers can remix on the fly with the minimum of fuss.

The new Stems file format allows the user to freely interact with each tracks separate musical elements. This means you can isolate vocals, drums and bass lines for your Stems files, opening up a new world of possibilities to create mixes, mashups and instrumentals in real time.

Learn all about Stems and get your questions answered at stems-music.com – the official online resource for the new audio format.

 

H/T: Native-Instruments / Traxsource / Junodownload

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Apple Music will pay labels just $0.002 per stream during its free trial

It looks like Apple has finally reached a settlement with the independents over Apple Music’s free trial period.

While Apple last week committed to paying music labels during the free trial of Apple Music, the company has yet to formally announce how much they will get.

But the question on the lips of the industry is a familiar one… how much?

Reports suggest that the indies are receiving the equivalent of $0.002 per stream from Apple, and MBW’s sources corroborate this.

But there’s an important extra detail, numerous indies have told us: this is actually a pre-tax figure, certainly in Europe.

That means that in the UK, for instance, the $0.002 would see a further 20% knocked off in VAT – down to $0.0016.

And it will be even worse news in the likes of Ireland (24%), Norway/Sweden (25%), Spin (21%) and Italy (22%).

We know that Apple is paying 58% of Apple Music income to labels in the US – with 13.5% going to publishers – so some very rough maths would suggest that independent publishers would get somewhere around $0.00047 per stream for the three-month free trial.

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Meanwhile, rumours are circulating about the nature of deals struck by the major labels before the great indie revolt (and Taylor Swift’s timely intervention) took place.

On the face of it, the majors accepted a royalty-free window for the Apple Music trial.

But, no surprise, there almost certainly appears to have been an iTunes-related minimum revenue guarantee included by Apple for the majors.

We’ve even been told a whisper, unverified, that one of the majors scored a guarantee of 80% of their current iTunes revenue. (ie. If Apple Music generates more cash than 80% of their existing iTunes income, great. If it doesn’t, Apple will have to pay it anyway.)

MBW understands that Beggars Group officially inked the Apple Music contract in New York earlier this week.

Martin Mills later said: “We are now delighted to say that we are happy to endorse the deal with Apple Music as it now stands, and look forward to being a big part of a very exciting future.”

According to the leaked North American Sony/Spotify contract from 2011, the major was guaranteed a per stream rate of $0.00225 for the Swedish service’s free tier – although that is probably now outdated.

Spotify says that across premium and free tiers, it pays a blended per-stream rate of around $0.007 to music rightsholders.

 

Source: Music Business Worldwide

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New Music FRIDAYs

From the summer of 2015, major and independent record labels worldwide will typically release new music on FRIDAYs at 00:01 at the local time in each market. The Move was announced in February 2015 following months of consultations with players across the music supply chain in more than 40 countries.

Moving to global release day in 2015

The move is being made to benefit music fans and will ensure that consumers worldwide are able to access new releases on the same day. Release days currently vary from one country to another, causing frustration for consumers in a globalised market when music fans in some parts of the world can listen to and buy new releases before others.

The plan is strongly supported by artist groups. Crispin Hunt, former CEO of the Featured Artist Coalition, says: “A global release day is a great opportunity to re-engage the public with new music and re-ignite the excitement around new releases. We are in a time when the general public’s involvement with music has become more fleeting and somehow less social – a global release day could help change that.”

The view is supported by Paul McGowan, CEO of Hilco, owner of the UK’s largest music retailer HMV. “A global release day is a totally logical move in today’s global music market and Friday is overwhelmingly the right choice for the day. Quite simply, new music should hit the high street when people hit the high street.”

As well as helping music fans, the move will also help artists who want to harness the power of social media to promote their new music. It will also reduce the risk of piracy by narrowing the gap between official release days in different countries. The launch of New Release FRIDAYs will be supported by an international promotional campaign design to engage consumers with new releases.

Research by TNS Ncompass in seven markets worldwide found that 68% of those consumers who expressed an interest in the topic favoured Friday or Saturday as a global release day. The pattern was consistent across the countries involved : Brazil, France, Italy, Malaysia, Spain, Sweden and the US.

Source: IFPI Digtal Music Report 2015

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Vinyl is back with the UK’s first ever weekly Official Vinyl Charts

Kicking off Record Store Day week 2015, new proof arrives today that Britain’s renewed interest in music on vinyl shows little sign of slowing.

2014 witnessed vinyl LP sales reaching a 20-year high in the UK at 1.29 million, following seven years of unbroken growth, and now, new Official Charts Company data for the first quarter of 2015 reveals that this trend is continuing at pace, with vinyl album purchasing up yet again a staggering 69% versus the same period in 2014, and vinyl singles also up 23%.

So while it’s quite clear that music fans and collectors alike can’t get enough of the format, the Official Charts Company has introduced the UK’s first ever Official Vinyl Charts. The Official Vinyl Albums Chart Top 40 and Official Vinyl Singles Chart Top 40 (combining sales of 7” and 12” singles) launch exclusively on the all-new OfficialCharts.com, with the charts published each week on Sundays, 7pm.

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Source: OfficialCharts.com

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Sony Reportedly Considering a Sale of Its Music Publishing Division

Sony Corp. has been considering a sale of its music publishing operation, according to a Bloomberg report on the latest leak of hacked Sony e-mails.

The details of the Sony/ATV Music Publishing’s potential sale were being handled by Sony Entertainment CEO Michal Lynton, Sony Corp. of America president Nicole Seligman and Sony Corp. of America CFO Steve Kober, according to Bloomberg, which cited an email from Kober dated Nov. 21.

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In an Oct. 3 e-mail, Bloomberg reports, Sony CFO Kenichro Yoshida raised concerns about the music publishing business, “which has a rather complex capital and governance structure and is impacted by the market shift to streaming.”

Sony/ATV is a 50/50 joint-venture between Sony Corp. and the Michael Jackson estate. In addition, those two partners also own a combined 39.8 percent — 29.8 percentage points by Sony and almost 10 percentage points by the Jackson estate — of EMI Music Publishing, thanks to a consortium put together by then-Sony Corp. of America CFO Rob Wiesenthal. That consortium, which also consists of Mubadala Development, Jynwel Capital Ltd., the Blackstone Group’s GSO Partners and David Geffen, paid $2.2 billion in June 2012 for EMI’s publishing catalog.

Sony/ATV and EMI’s publishing assets include such crown jewels as the former’s Beatles catalog and the latter’s Motown catalog. Sony/ATV sees revenues of about $510 million on its own and another $115 for administrating EMI’s catalogue, which has revenues of about $725 million itself.

Further details of the sale plan — including possible suitors — are unknown, the Bloomberg report noted. So it couldn’t be determined if Sony was looking to sell all of its publishing assets, or its portion of the EMI Music Publishing catalog. It’s also unclear if the subject of Sony selling its portion of EMI has been broached with the rest of the consortium.

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In any event, if all the publishing assets were put up for sale, knowledgeable industry sources tell Billboard its unlikely that European Union regulators would let Universal Music Group make such an acquisition. Likewise, the Warner Music Group would also face regulatory difficulties if it tried an outright acquisition of the combined publishing assets. The only reason the EU let Sony/ATV buy EMI originally is because it was as part of a consortium and it made it sell off about $100 million in publishing assets at the time.

More likely suitors for all of the publishing would include either private equity firms, or a major film studio like Disney, or Bertelsmann-owned BMG Rights Management, a growing power once again in the music business.

But for the exception that the EMI retains its own financial accounting department, the Sony/ATV and EMI staffs have been combined into one team that promotes both catalogs. As such, it seems unlikely that a private equity firm could acquire the EMI catalog without also purchasing Sony/ATV and its staff. If the sellers want to obtain an optimum price, it would need a plethora of potential suitors, so it likely would have to sell all the publishing assets. Billboard estimates a sale of both catalogs would bring in about $3 billion-$3.5 billion.

A Sony/ATV spokesman declined comment on the report. John Branco, who co-manages the Jackson estate, didn’t respond to a request to comment.

Via Billboard.

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