Total digital song sales hit 410.5m in the six months to end of June this year, compared to 541.2m in H1 2015 – a loss of more than 130m downloads.
TuneCore artists earned $42 million in the first quarter of 2016, up 16% from the same quarter last year. Revenue from music streaming services like Spotify, TIDAL, Deezer and Rhaposdy has grown significantly, according to the digital music distributor.
More new TuneCore stats:
- TuneCore artists’ earnings have grown by 730% from YouTube Art Tracks
- Gross revenue has increased by 126% from YouTube Sound Recordings.
- The Publishing Administration arm of TuneCore has seen a 188% increase in sync revenue.
- Placements in popular TV shows include Empire, Grey’s Anatomy, The Goldbergs and Shameless.
NeuLion believes that the combined synergies derived from adding its experience in delivering live TV channels and live sports to the Saffron assets acquisition can transform the over-the-top (OTT) challenges faced by owners and rights holders of sports, entertainment, films and TV channels.
It adds that the combined entity can now reduce project complexities for all content rights holders of existing and new OTT services by decreasing the number of vendors involved in their projects and ‘significantly’ decrease time to market for new OTT and TV everywhere services in comparison to other technology options.
Yesterday’s news that Warner Music Group has bought X5 Music – with reports in Sweden suggesting the price may have been $25m – is the latest sign of major labels doubling down in their efforts to do more with playlists and streaming curation.
WMG, remember, already bought British startup Playlists.net in October 2014, and has adopted its Topsify brand as the imprint for the label group’s own playlists on Spotify.
As the major labels’ tanks rumble towards YouTube’s lawn, TuneCore CEO Scott Ackerman claims that independently distributed artists are increasingly seeing the video channel as both a goldmine and the greatest marketing weapon in their arsenal.
“Our artists see both YouTube and the streaming channels as a way to get their music out,” he tells Music Ally. “For most of our artists, that is their number one thing – they want their music heard. It’s not about money. They want their music out worldwide so everyone can hear it.”
DistroKid, one of the world’s leading digital distribution companies that gets artists and labels’ music into over 90 digital outlets (like Apple Music, Spotify, Amazon, iTunes, Google Play, Tidal, Deezer, etc) will now directly pay revenue from your releases to anyone you want.
What does this mean? Your producer gets 3% of revenue from your most recent single? Before, you would have to download your sales reports every month, calculate the totals for the designated release and write your producer a check for 3% of that. Every month. You did a YouTube collaboration with 5 other artists? Now, instead of one person having to figure out the splits and paying each collaborator directly, DistroKid will do all the accounting, reporting and payments directly to each collaborator.
The indie music community has embraced Bandcamp and its suite of direct to fan monetization tools. And unlike most music tech startups, Bandcamp, which launched in 2008, has been profitable “in the now-quaint revenues-exceed-expenses sense” since 2012.
Nearly 6 million fans have bought music from hundreds of thousands of artists through Bandcamp. Have of those fans are under 30, according to the company. That’s signification at a time when consumption by younger music lovers is supposedly dominated by streaming.