21 10 / 2014

Gerald Newson to stand for re-election at PPL’s 2014 Annual Performer Meeting | Music Week: Home Stream

Reposted from http://ift.tt/1w2UuP4 on October 21, 2014 at 10:37AM

PPL

PPL Annual Performer Meeting will be take place on Wednesday, November 26 this year.

For the first time, the APM will be held at London’s East End arts venue Rich Mix.
 
PPL’s constitution requires that, at each APM, the longest serving elected performer director(s) must step down and an election must be held. The incumbent director(s) may stand for re-election but alternative candidates may also be nominated to stand in the election.

This year, Gerald Newson (current chairman of the PPL Performer Board) is the elected performer director due to step down but will stand for re-election.
 
The APM is for those performers registered with PPL and who have been paid PPL income in either of the preceding two financial years (in this case, 2013 and/or 2014).

Performers eligible to attend the invitation-only meeting will be contacted by PPL in mid-October when details of the process for nominating election candidates will be given.

The full list of candidates standing for the elected performer director position in this year’s election will be confirmed and published in mid-November.
 
During the meeting, there will be an address from PPL chief executive officer, Peter Leathem and presentations by key members of PPL’s executive management team.

21 10 / 2014

TuneCore launches ‘YouTube Money’ service | Music Week: Home Stream

Reposted from http://ift.tt/1wi1ZiK on October 21, 2014 at 10:22AM

TuneCore

TuneCore launched a new service called YouTube Money, which will give the platform’s worldwide user-base the ability to monetise their sound recordings on the Google-owned platform.
 
A recent TuneCore survey revealed that its users now consider YouTube to be the third most important point of distribution for their music, behind iTunes and Spotify.

YouTube Money will allow TuneCore users to collect a percentage of advertising revenue generated from any videos that use their sound recordings, including user-generated or other non-owned content in addition to the artists’ own YouTube channel.
 
Earnings are deposited directly into the same TuneCore account as revenue from music distribution and songwriter royalties.
 
“Musicians and songwriters today need to maximise their revenue across a growing number of touch points and platforms, and TuneCore is dedicated to making the process simple and efficient,” said Scott Ackerman, TuneCore CEO.

“As YouTube’s importance as a point of distribution increases, we want to ensure artists are receiving the full benefits. With YouTube Money, we’re confident TuneCore can help artists by collecting the YouTube revenue artists have earned while artists can focus on what’s most important – making music and getting their music out to the world.”
 
YouTube Money is the latest addition to TuneCore Artist Services, a string of music-related resources that support ‘independent musician-entrepreneurs’.

21 10 / 2014

Personalized Bandcamp Recommendations with BCRecommender | hypebot

Reposted from http://ift.tt/1w2MGwJ on October 21, 2014 at 10:30AM

By Yanir Seroussi from BCRecommender I’ve been a Bandcamp user for a few years now and I love it. I love the fact that they pay out a significant share of the revenue directly to the artists, unlike other services. In addition, despite the fact that fans may stream all the music for free and even easily rip it, over $80M were paid out to artists through Bandcamp to date (including almost $3M in the last month). This serves as strong evidence that Bandcamp’s focus on doing what’s good for the artists is working out well. In the words of…

21 10 / 2014

'Legendary' reggae singer and writer John Holt dies, aged 67 | Music Week: Home Stream

Reposted from http://ift.tt/1wi1ZiE on October 21, 2014 at 10:09AM

1000 volts of holt

Reggae singer and writer John Holt passed away at the age of 67 on Sunday.

Holt was taken to a London hospital, although the cause of death is yet to be established.

Copeland Forbes, the artist’s manager since 2006, confirmed his passing, while Trojan Records paid tribute to Holt via Twitter saying, “Rest in peace, the legendary John Holt. A huge talent and a true gentleman.”

Holt was the lead singer of The Paragons during the 1960s, when he wrote and released The Tide Is High, which went on to be a cover hit for Blondie in 1980.

Going solo in 1970, Holt became one of reggae music’s biggest stars.

Other reggae artists to pay tribute to Holt over Twitter upon news of his passing included Shaggy, who said, “We have lost a legend. A very instrumental part of our reggae history.”

Sean Paul said: “RIP Sir John Holt. You have served your culture well. I salute you.”

UB40 called Holt a “massive inspiration that will be sorely missed”.

Holt’s solo track Stick By Me was the biggest-selling Jamaican record of the year in 1972, and he saw UK success with a cover of Kris Kristofferson’s Help Me Make It Through The Night in 1972 on his 1,000 Volts Of Holt LP (pictured). The song spent 11 weeks in the UK Top 40, peaking at No.6.

21 10 / 2014

Manufacturing report: ‘Vinyl is king right now’ | Music Week: Home Stream

Reposted from http://ift.tt/1FwOGjC on October 21, 2014 at 08:48AM

Manufacturing report: 'Vinyl is king right now'

While the likes of artists, labels and publishers have been able to benefit from the increasingly streaming-orientated listening habits of music consumers, the digital revolution posed a threat to the manufacturers responsible for the production of physical media, which many are leaving behind for pay-monthly digital services. 

According to the BPI, streaming has just about doubled year-on-year, from 5.2 billion tracks streamed in 2013 to 10.2 billion at the same time this year. Users of streaming platforms such as Spotify, Deezer and Rdio are streaming around 300 million tracks every week. 

And as a result of the digital revolution, which is increasingly centered around a crowded streaming sector, various commentators have become increasingly cynical about the general state of the physical market. But manufacturers remain incredibly optimistic - and maintain that the health of their industry is not all that bad. 

 By adapting to market trends and focusing on premium quality products, key players in the physical market believe they can more than survive for the foreseeable future. Here, we speak to representatives from the manufacturing sector about the opportunities and challenges they have been presented with recently. 

“The doom and gloom surrounding the whole digital arrival for manufacturers seems to have died down and everyone is getting on with making things,” says Will Appleyard, sales director of Clear Sound and Vision (CSV). 

“There’s obviously an opportunity with the vinyl boom and the box set market appears to be healthy too. We are working with many labels outside of the UK and indeed outside of Europe right now, as labels fight for every inch of vinyl capacity they can get their hands on.”

Clear Sound and Vision has specialised in product project management for the music and entertainment industries since 1997 and still caters for worldwide demand. The company produces CD, DVD and vinyl as well as designing bespoke packaging projects for labels in the UK and abroad. “We work with labels in Japan, US, Canada, Australia and New Zealand to mention a few,” says Appleyard.

Russell Hodgskin - managing director of specialist in manufacturing, mastering and design for the music industry, SixtySix Productions - agrees with Appleyard. “We have to stay positive [about the state of the manufacturing industry],” he says. “Don’t listen to the doom mongers! Yes, physical product is declining, but by getting creative we can prolong its shelf life for many years to come.

“Replicated CDs have declined but this was expected and the increase in vinyl, quick turn CD promos and demand for box sets has balanced this out for us,” says Hodgskin. “You tend to find that most CD releases are now available on vinyl, as well as MP3. So, yes, vinyl orders have definitely increased.”

The revived interest in vinyl has been a much-needed lifeline thrown into the torrent of streaming and download options that consumers are being offered today. And according to Entertainment Retailers Association (ERA) analysis of Official Charts Company data - vinyl sales for the year to date have already exceeded sales recorded for the whole of 2013. 

ERA director general Kim Bayley called the healthy sales figures “an extraordinary turnaround,” adding that the “trend shows no sign of abating.” There have been 844,122 vinyl album sales this year, compared with 829,243 sales in 2013.

“Vinyl is king right now,” says Appleyard. “We’ve even seen the return of one or two smaller labels that dropped off a bit as their CD sales slid, but now they’re able to tap into this vinyl fever, which is great for them,” he adds.  

“At a guess, 70% of what we are making must be vinyl right now. Cassettes have even started to creep back in. I’m not sure how long that little surge will last though.

“Not only have initial orders of vinyl gone skywards, but the reorders that follow come thick and fast too which never really used to be the case. CD has dribbled off a bit, but it’s still there with some decent numbers being made.”

Sound Performance managing director Chris Marksberry, says: “Vinyl orders are increasing all the time at a good rate.” The UK-based company specialises in CD/DVD replication with its large site dedicated to the independent music market, UK vinyl pressing and audiocassette duplication.

It should be noted that the increase in vinyl sales has not offset the decline of physical sales. They only amount to less than 3% of the physical albums market, nowhere near to the 97% market share enjoyed by CDs. 

Marksberry is keen to put the format into perspective and in doing so highlights the fact that the physical market is still incredibly significant.

“The European market is making around two billion optical discs per year,” he says. “Vinyl production I would guess is currently less than 100m per annum.” 

Marksberry’s estimate correlates with the aforementioned ERA analysis of Official Charts Company data, which shows that vinyl sales for the year to date are over 800,000, with that number expected to reach one million by the end of Q4 - four times the number of records sold in 2008. And with retailers boosting their marketing activities ahead of Christmas, that number will almost certainly be reached.

Additionally, the advent of Record Store Day has presented the industry with an increasing amount of orders two to three months after the traditional Q4 sales spike, according to Hodgskin.

“[Q4] is historically busy because of Christmas. However, February and March are becoming busy periods also due to the increased demand forvinyl, CD and box set products for Record Store Day,” Hodgskin explains.  

When asked if he thinks Record Store Day will continue to drive up demand for physical formats, or if the novelty of the event will eventually wear off, Hodgskin says: “Who knows, but let’s enjoy it while it lasts! The demand is showing no signs of slowing down at the moment.”

In spite of the business opportunities afforded by the vinyl boom, Appleyard tells Music Week that the increased interest in the format also presents its own challenges to manufacturers. 

“[The challenge with vinyl is] not only where initial orders are concerned, but [with] those all-important, urgent re-orders,” he explains.  

He continues: “The problem [is] that vinyl cannot be turned around quickly - everyone is in the same boat where that’s concerned. That said, [CSV] have some plans for 2015 which will help our clients greatly where vinyl capacity is concerned.”

Hodgskin concurs that turnaround times can be difficult: “The advantage [of Record Store Day] is obviously more business due to demand, but the disadvantage for vinyl is supply affecting turnarounds. With CD, supply totally outweighs demand, so there is no downside.”

Another potential problem is the quality of the vinyl, says Hodgskin. “[One of the challenges is the] devaluation of quality vinyl because of price cutting, where an inferior quality of product is offered for a cut price deal,” he says. 

The sales director adds that clients can rest assured that SixtySix Productions won’t fall short of consumer expectations with the products they manufacture though. “We pride ourselves on manufacturing the best quality vinyl,” asserts Hodgskin. “[We give] our customers a supreme audiophile experience and the best possible quality product to hold. If you want the best you have to pay a little more for that.”

‘Packaging is part of the music experience’

Consumer demands for tangible value-for-money products are being met with the production of high-end box sets containing everything a super fan might want, from several formats of their favourite artist’s albums, to posters, books, DVDs, T-shirts and other merchandise.  

“Packaging is important and is part of the music experience,” says Sound Performance managing director Chris Marksberry. The company’s creative subdivision, The Box Set Co., offers a full in-house concept, design and manufacturing service for box sets and special packaging. “Sometimes the design comes to us fully formed, [but] more often it’s a collaborative process based around design ideas, functionality and budgets,” he says.

Marksberry adds: “Box set’s are all about the extras. Rare tracks and merch items. [Sound Performance] have done some weird and wonderful things over the years. I think it’s important in a high priced box set that the contents reflect the purchase price, so quality items [have to be included] otherwise the buyer will feel short changed.”

Marksberry adds that the main costs involved with the design of the box sets are “usually the core products, vinyl, CD, DVD and the container itself,” and adds that there “aren’t any design limitations as such.” 

He continues: “The main driver [of the design] is the retail price and the manufacturing budget comes out as a proportion of that.”  

Sales director of OK Media, Doron Garfunkel, concedes that the manufacturing industry is in decline and says that the downward trend will continue for the next 24 months, but adds: “There is enough demand for a while yet as many people still prefer physical formats which are better suited for the gifting market and as the limited editions continue to grow in number and variety.”

OK Media specialises in the production of CDs, DVDs and USB sticks as well as providing all other surrounding services such as pre-mastering, fulfilment, limited editions, print and packaging.

“Demand for physical media continues to be in decline as digital grows ever stronger year on year,” says Garfunkel. 

“We have increasingly more publishers and retailers working together with us to create products that will stand out from the crowd and offer through additional physical content to the end consumer - something that cannot be downloaded.”

Clear Sound and Vision’s Will Appleyard says that his company has seen a steady increase in demand for box sets in recent years, particularly in direct to consumer sales. 

“Digital downloads and streaming are a great quick fix, but it’s a bit too disposable for many,” he says.

 “There will always be a market for super fans across all genres of music and those guys will always put their hands in their pockets for the deluxe or special edition version. They demand a unique experience – something tangible and, at the very least, numbered.”

One of the deluxe products produced by Clear Sound and Vision this year is a Boris Blank box set, which contains vinyl, CDs, a book and a cassette – all packaged in a “chunky box and slip case.”

Appleyard adds: “Platforms such as Pledge and Kickstarter have made it possible for labels or artists to produce beautifully bespoke or limited edition products for their hardcore fan base, which is excellent for all involved. 

“Gauging interest from the fans and raising capital in advance of manufacture is the perfect model.”

21 10 / 2014

Rocket Fuel - What can a new Platform add to the world of Crowd-funding? | hypebot

Reposted from http://ift.tt/1sKND8X on October 21, 2014 at 10:01AM

The Crowd-funding market is pretty well saturated these days, but there’s always room for innovation and improvemet, right? The folks at Rocket Fuel seem to think so - and perhaps they’re onto something. The bread and butter of this new platform is in its sustainable career model. Rather than advocating the raising of funds for a specific item or event, they’re encouraging artists (and fans) to be thinking long term by contributing regular donations over a set period of time. By encouraging this type of financial contributions, the fans feel less pressure to make large donations, thus are perhaps more…

21 10 / 2014

Reintroducing: The Analyics Heatmap | The Daily Rind

Reposted from http://ift.tt/1px1mga on October 21, 2014 at 10:00AM

As some of you may have noticed, we’ve updated the look and feel of our iTunes Heatmap in The Orchard Workstation Analytics. While the interface itself is a thing of beauty, we couldn’t just stop there! You’ll notice an increase in speed and overall performance of the tool as well. …

21 10 / 2014

Daily News Highlights: Tuesday, October 21st, 2014 | The Daily Rind

Reposted from http://ift.tt/1wlWjTK on October 21, 2014 at 09:45AM

Inside The Spotify – Echo Nest Skunkworks SoundCloud’s Growth Strategy: Remixing Labels, Creators, and Advertisers Brandcast: How Google Is Cashing In On YouTube’s Success Hulu, Fullscreen, Maker Studios Execs Talk Subscription Streaming Challenges Indie Distributor Scorecard 2014: Who’s Up and Who’s Down?

21 10 / 2014

How Kansas City and San Francisco Really Listen To Lorde ‘Royals’ | Spotify Insights

Reposted from https://insights.spotify.com/us/2014/10/21/how-kansas-city-and-san-francisco-really-listen-to-lorde-royals/ on October 21, 2014 at 09:00AM

In response to social media demands from San Francisco Giants fans, San Francisco radio station KFOG announced on the evening of October 16th that it would cease all play of Lorde’s hit song “Royals,” which shares a name with San Francisco’s World Series opponents, the Kansas City Royals. San Francisco’s KOIT followed suit on October […]

21 10 / 2014

TuneCore Launches YouTube Money Music Video Monetization Service | hypebot

Reposted from http://www.hypebot.com/hypebot/2014/10/tunecore-launches-youtube-money-music-video-monetization-service.html on October 21, 2014 at 09:10AM

TuneCore has announced the launch of YouTube Money, a monetization and collection service for music videos. Music videos are estimated to drive nearly 40% of all views on YouTube and a survey of TuneCore artists showed they now consider YouTube to be the third most important point of distribution for their music, behind only iTunes and Spotify. Ironically, or perhaps strategically, TuneCore’s YouTube Money competes directly with Audiam, a YouTube monetization service launched last year by Jeff Price and Peter Wells, TuneCore co-founders who exited the flat fee music distributor in 2012. With both services, artists can collect a percentage…

21 10 / 2014

iTunes up 7% YoY in Apple’s fiscal Q4 | Music Week: Home Stream

Reposted from http://ift.tt/1uzc87d on October 21, 2014 at 08:47AM

iTunes up 7% YoY in Apple's fiscal Q4

iTunes sales were up to $4.6 billion in Apple’s fiscal Q4 report - a 7% rise year-on-year up from $4.3 billion - while the company’s net profit hit $8.5 billion.

Apple topped analysts’ expectations with iPhone sales also rising.

Wall Street experts were expecting Apple to earn $1.30 a share on $40 billion revenue; the tech giant earned $1.42 per share on $42bn.

Analysts also predicted sales of 38 million iPhones, while Apple sold 39.27m - a 16% increase quarter-over-quarter. iPad sales however did not meet analyst predictions, only shifting 12.3m units rather than 13m.

iPod sales slumped year-on-year, from 3.5bn to 2.6bn, but this was expected.

In an earnings call, Apple CEO Tim Cook said that iTunes revenue alone was more than that of two-thirds of Fortune 500 companies.

In a statement, Apple’s chief executive, Tim Cook, said: “Our fiscal 2014 was one for the record books, including the biggest iPhone launch ever with iPhone 6 and iPhone 6 Plus.”

Via: Billboard

21 10 / 2014

AM NEWS BRIEF: Soundcloud’s Growth Strategy, TPG Buys CAA, Google Play Makeover, Dice For Tix & More | hypebot

Reposted from http://ift.tt/1uz3TId on October 21, 2014 at 08:23AM

TUESDAY 10.21.2014 Music Business News & Views From Around The Web CLICK HERE Updated Continuously @ Hypebot’s More News Tab

21 10 / 2014

California Law Protects Public Performance Rights of Pre-1972 Sound Recordings | Copyhype

Reposted from http://ift.tt/1yUID6D on October 21, 2014 at 08:01AM

The issue of whether to enact performance rights for sound recordings has been debated by parties, courts, national legislatures, and intergovernmental bodies in various State, Federal, foreign, and international forums for more than 40 years. It was one of the most hotly contested issues in the recent program for general revision of the Federal copyright […]

• • • California Law Protects Public Performance Rights of Pre-1972 Sound Recordings was originally posted on Copyhype • • •

21 10 / 2014

Today’s iTunes UK Charts: Meghan Trainor No.1, Waze & Odyssey & R. Kelly No.2 | Music Week: Home Stream

Reposted from http://ift.tt/1yUICQf on October 21, 2014 at 08:00AM

Today's iTunes UK Charts: Meghan Trainor No.1, Waze & Odyssey & R. Kelly No.2

Today’s iTunes UK charts – correct at the time of posting (1pm) – are:

Singles:

  1. All About That Bass – Meghan Trainor
  2. Bump & Grind 2014 – Waze & Odyssey & R. Kelly
  3. Thinking Out Loud – Ed Sheeran
  4. Bang Bang – Jessie J, Ariana Grande & Nicki Minaj
  5. Shake It Off – Taylor Swift
  6. T.I.N.A (feat. Angel) – Fuse ODG
  7. Don’t Tell ‘Em (feat. YG) – Jeremih
  8. Welcome To New York – Taylor Swift
  9. Changing (feat. Paloma Faith) - Sigma
  10. Steal My Girl – One Direction

Albums:

  1. I Forget Where We Were – Ben Howard
  2. .5: The Gray Chapter (Special Edition) - Slipknot
  3. x (Deluxe Edition) – Ed Sheeran
  4. Chapter One (Deluxe Version) – Ella Henderson
  5. Aquostic (Stripped Bare) – Status Quo
  6. 1989 (Deluxe) – Taylor Swift
  7. Sweet Talker (Deluxe Version) – Jessie J
  8. Keep Calm & Chillout – Various Artists
  9. Now That’s What I Call Music! 88 – Various Artists
  10. V – Maroon 5 

Videos:

  1. Always In My Head (Alternate Live Take) – Coldplay
  2. All About That Bass – Meghan Trainor
  3. Thinking Out Loud – Ed Sheeran
  4. Shake It Off – Taylor Swift
  5. Anaconda – Nicki Minaj
  6. Happy (from Despicable Me 2) – Pharrell Williams
  7. Bang Bang (feat. Ariana Grande & Nicki Minaj) – Jessie J
  8. Booty (feat. Iggy Azalea) – Jennifer Lopez
  9. Good Girls – 5 Seconds Of Summer
  10. Blurred Lines (feat. T.I. & Pharrell) – Robin Thicke

21 10 / 2014

Microsoft: We’ve Always Had Freemium, It’s Called Piracy | TorrentFreak

Reposted from http://ift.tt/1w1OFBp on October 21, 2014 at 07:22AM

New comments from Microsoft CEO Satya Nadella suggest that luring people in with zero-cost products is of great interest to the company. However, while services such as OneDrive are free with premium options by design, Nadella says Microsoft has long had a freemium business model, but one that was forced upon it by pirates.

Source: TorrentFreak, for the latest info on copyright, file-sharing and anonymous VPN services.