Happy Thanksgiving! We hope you are enjoying good food and conversation! Speaking of which, come join the Music Think Tank Online Networking party!Feel free to comment and introduce yourself and network with others in the Music Think Tank community.
(UPDATED) Concert and ticketing giant Live Nation has relaunched its LiveNation.com site as a hub for love music fans. While still the place find out about concerts and buy tickets, the site now also adds exclusive and user generated content in hopes that users will visit before and after the show.
The following interview is a lightly edited and condensed trascript of an episode of The Upward Spiral, Hypebot's music and tech podcast.
Jason Spitz: Welcome Jack Conte.
Jack Conte: Hello there. Thank you for having me.
Jason Spitz: Hey, Jack. It's a pleasure to have you... Jack is one half of Pomplamoose, a band you that you may know from their illustrious YouTube videos and ad soundtracks, but he's also an independent musician in his own right... I want to take a second for Jack to tell the listeners a little bit about yourself. What's your story?
YouTube is one of the most pervasive social media outlets for both music discovery and fan engagement. As one of the world’s leading online video services, YouTube provides artists with tools to effectively market their brand on the network. Many of these tools are made available through the YouTube Partner Program, a program that allows content creators to improve their marketing and creative skills, reach larger audiences, and monetize their videos.
In a recent interview, Daniel Ek, the founder and CEO of Spotify, addressed critics of their artist payouts.
“They’re saying, oh, they’re just paying a fraction of a cent every time someone plays a song,” says Ek to Quartz, a digital news outlet. “And then you compare it versus the download revenue. Well, I can tell you it will take you 200 song listens before you make the same amount of money [as a download]."
Sick of all this nonsense everybody keeps yelling in your ear about social media marketing while you're busy tuning your guitar? Wondering what the heck becoming a better typist and learning to write in 117 word sentences has to do with being a great musician? Well you're in luck because we have not just one but two vicious assaults on the concept of social media for your consideration.
Many people have created apps to make the experience of Twitter better. One of the apps out there is called Tweepi - “a geekier, faster way to bulk add quality followers”. As we’ve seen before, many people have to deal with fake Twitter accounts, but Tweepi allows you to find real followers. On Music Think Tank, Ariel Hyatt posts about the app and how it allows you to clean up your Twitter feed, follow the right people, and unfollow people that don’t follow you. Have you tried Tweepi?
DIY is great but it doesn't have to mean Do It [All] Yourself. Having a knowledgeable publicist in your corner can make a big difference in growing your career as a musician. The following tips for working with publicists are a good starting point for building a successful relationship that should go far beyond simply paying for a service.
By Eliot Van Buskirk of Evolver.fm.
Forever.fm was designed to do one thing and one thing only: Play music that never stops, for any “DJ chatter,” advertisement, or lack of musical ideas.
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In no particular order...
- "Alice's Restaurant" - Arlo Guthrie
- "Thank You (Falettinme Be Mice Elf Agin)" - Sly & The Family Stone
- "Thank You" - Dido
- "The Thanksgiving Song" - Adam Sandler
- "Thank You For The Music"- Abba
- "Thank You Lord" - Bob Marley
- "Thank You" - Led Zeppelin
- "We Are Family" - Sister Sledge
- "Thank U" Alanis Morissette
- "Thank You Girl" - The Beatles
I've stayed out of this fight for a while, but the noise has gotten so loud that I cannot ignore it. Some people say it's pay to play, some people say you just have to know how to use the algorithm in order to improve your EdgeRank. But regardless of whatever side of the argument you are on, ever since they changed the formula nearly two months ago, FACEBOOK HAS BEEN SUCKING THE LIFE OUT OF ARTIST / FAN COMMUNICATION.
By Eliot Van Buskirk of Evolver.fm.
Guitar virtuoso Ron Jarzombek shreds way hard on his new song, “Beyond Life and Cosmic Kinetics," which is great, but that’s not what attracted our attention. Jarzombek tapped iOS developer Oleg Kolokolov to turn his song into an advanced, well-designed song app that lets the listener adjust the levels — or mute entirely — each of the tracks, or stems, in the song.
Music videos are one of the most important marketing tools for musicians today. For some they are also a source of revenue but for emerging artists they're primarily about marketing and fan acquisition. But when a music video conflicts with your music, you may have a problem on your hands.
By Knar Bedian of Evolver.fm.
Finally, the “first” digital music magazine designed for iPhone and iPad has arrived. What’s so great about a magazine in app form? And haven’t other people done this before?
Last week's Billboard FutureSound conference in Ssan Francisco offered a variety of keynote speakers including a venture capitalist, a record label chief, an agency innovator and an EDM star. The keynote summary:
Though my initial post on the possibility of a world of music without musicians was framed in a somewhat sensationalistic manner, thinking about current tech's influence on music through that lens casts certain phenomenon in a different light. For example, what are the implications of Japan's virtual pop stars to musicians who emphasize live performance as a core revenue stream?
Hypebot is much more useful (and fun) as a two way conversation. Pleace join in by adding your comments to posts on the site and on Facebook. And join our growing tribe on Twitter at (@hypebot). In addition to posts, we tweet breaking news, commentary, discounts and much more. You can also follow Hypebot via:
After you purchase a song, you have certain rights like the ability to access the file. The First Sale Doctrine gives people the right to lend, resell, or give away works that they have bought. (applies to physical media or license-free downloads) Currently, the US Supreme Court is dealing with the case of Kirtsaeng v. Wiley that could undermine the First Sale Doctrine and make ownership feel more like licensing. On Music Think Tank, Tom Dennehy posts about the possible implications of this case and the First Sale Doctrine. What do you think of this case?
While digital music services like Pandora may have gained the adoration of casual music fans preferring the lean-back approach to music discovery, music enthusiasts – those wanting to be the first to discover up-and-coming artists – may find much to be desired, as newer artists tend to get lost in the shuffle of hits and classics. To remedy this, Slacker Radio has created a solution for the music enthusiast in the form of their “New Music First” stations for the alternative, country, hip hop, indie, metal, pop, R&B and rock genres.
By Aarti Kelapure of Evolver.fm.
Another week, another thing for collecting music on the internet that people might or might not want to use. The latest: Whyd, a social music service that lets you find music from free music sources across the web and start a collection of songs on your Whyd profile page — kind of like an expanded, not-as-alluring version of This Is My Jam, or a music-based Pinterest.
Last week’s second annual Billboard FutureSound conference in San Francisco brought speakers from all facets of the music and tech relationship to speak about innovation in the music industry. Labels, investors, start-ups, rights agencies, artists, managers and music platforms all gathered for a positive discussion looking at the future.
(UPDATED) Since taking over MySpace from News Corp, Interactive Media (formerly Specific) has pushed traffic back up 36%. But that hasn't stopped MySpace from bleeding $40 million in 2012, according to pitch materials dated 11/16/2012. To save the ailing company, investors are being asked to pony up $50 million to re-launch MySpace as a direct competitor to Spotify and Pandora.
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Flat fee digital music distributor TuneCore has launched in Japan. Artists in Japan will be able to sell in online stores like iTunes and AmazonMP3, with more stores expected. TuneCore has previously been used internationally, but this is the distributor's first country-specific site.
Direct to fan provider BandCamp never touts its accomplishments. Many popular indie artists like Amanda Palmer, Zoe Keating and Sufjan Stevens use Bandcamp. But unlike their competitors, the company never sends out press releases announcing milestones, new features or strategic partnerships. Occassional announcements come without fanfare on their blog. But at last week's FutureSound conference, Bandcamp CEO/Co-founder Ethan Diamond shared to impressive stats:
When the history of music social networking is written, it probably won’t list 2012 as a strong year. Apple’s heavily marketed Ping service failed to catch on and closed down. Upstart Turntable.fm saw usage decline. A music app that was a near-exact copy of viral hit Instagram managed not to get bought for $1 Billion. Facebook users engaged in everything from eye rolling to wall screaming as their feeds continued to be crammed with robotic updates of high school friends listening to terrible music in Spotify.
There aren't many stories quite like Macklemore's; the Seattle born rapper has been making music for 12 years, but it was earlier in 2012, upon his debut release "Heist" (with Ryan Lewis), when he shot to mainstream fame. Just hours after "Heist" dropped it had secured the #1 spot on the iTunes Album Chart, before entering in at #2 on US Billboard 200. But even before these successes, the pair had sold out 18 of 27 shows on tour across the US and UK. No label, just pure fan support.
It’s no secret that mobile will continue to play a dominate role in our daily lives, but what exactly does the future look like for mobile adoption? More specifically, how does it look in the context of music discovery, consumption and the listener/fan dynamic? The following infographic, created by mobile app developers MobBase, takes a look at how the future is shaping up for musicians in terms of just how connected both they and their fans will become in the mobile future.
Amidst a growing battle over digital broadcast royalty rates, SoundExchange today fired the most powerful gun in it's arsenal: the largest quarterly payments from non-interactive digital music services to artists and labels ever. The third-quarter distribution of $122.5 million announced today means that payments have reached $326.9 million in the first three quarters of 2012 and are already $30 million greater than all of 2011.