CISAC, the organisation that brings together all the song right collecting societies around the world, has published its annual Global Collections Report, bringing together all sorts of data and figures for 2015. Together, monies collected by all those collecting societies topped €7.5 billion last year, up 8.5% year-on-year.
CISAC also counts amongst its membership some collecting societies that represent other groups of creators from the audio-visual and visual art communities, meaning that the total figure recorded in the report is €8.6 billion.
Source: Song right societies collected €7.5 billion last year, says CISAC report | Complete Music Update
Throughout the history of the music business, the goal was always the same: get people to purchase records. Once that purchase was made, it didn’t matter whether the record was played or not.
But streaming has completely changed the game. For the first time, financial success is no longer based on one-time sales, but on ongoing streams. The more a track is played, the bigger the payout. The implications of this shift are massive.
Source: How Streaming Is Changing The Sound Of Pop Music – hypebot
Peer lending and crowdfunding have already greatly changed different industries. With the cryptosphere, there are now new ways of funding projects and selling products. It places all necessary tools directly in the hands of the project manager.
Without centralized databases and third party governance structures, all crucial decisions can be made by an artist himself, his manager, an artist’s team, or even via crowdsourcing in collaboration with fans.
Source: Is blockchain causing a music revolution?
Live music technology is transforming the industry. Those who stay ahead of the curve have a huge opportunity to impress fans, simplify their work, and increase profit. So, how can you get smarter about how you use technology to produce and promote live shows?
To find out, we interviewed 20 music and technology leaders who are on the cutting edge of music technology. We also surveyed nearly 50 live music venues about their top challenges, and how they’re using technology to solve them.
Source: 6 Important Music Tech Predictions From 20 Industry Tastemakers – hypebot
First and foremost, there’s the question of ownership. Determining who should own, maintain, and ensure the ongoing integrity of a music catalog is crucial to its existence and long-term value to the music industry. Any solution that excludes either artists or their agents as stakeholders is doomed to fail.
At a high level, we’re already observing the negative effects of abstracting rights away from their creators and collecting them into large conglomerates. So the question that remains is one of beneficial governance — what would a joint cataloging effort look like?
Source: What Does the “B” Word Mean for Music?
Today, November 7th, marks a turning point in Ujo’s history. Due to ongoing maintenance costs, the time has come for us to bid farewell to our beloved Alpha project. Instead of spending time maintaining the prototype, which fulfilled its purpose, we are knuckling down to build an open platform for all artists.
The Ujo team joined with Grammy award winning artist, Imogen Heap’s initial Mycelia experiment as both wanted a more fair and open music industry. Imogen posted Tiny Human to her website along with all relevant metadata for the song to see what new music services could do with it. In collaboration with Heap, we were able to showcase the power of the blockchain in getting Tiny Human up for sale on the newly launched Ethereum blockchain.
Source: Evolution of Ujo Music: The Tiny Human Retrospective – ConsenSys Media – Medium
The Open Music Initiative (OMI) of the Berklee College of Music’s Institute for Creative Entrepreneurship (BerkleeICE), today announced an impressive list of 80 new members, including Dubset, Napster, Red Bull, The Orchard, Sonos, SoundExchange, Viacom, GMR Marketing, 7 Digital and performing rights societies SOCAN (Canada) and BUMA (Netherlands).
That brings total industry membership in ICE to 140 including Universal Media Group, Sony Music Entertainment, Warner Music Group, Intel, Spotify, Netflix, SiriusXM, YouTube, SoundCloud, Pandora and Netflix.
Source: Open Music Initiative Adds 80 Top Music Industry Partners – hypebot