Metallica O Número 1 No Billboard 200

Metallica Rocks With Sixth No. 1 Album on Billboard 200 Chart

Metallica scores its sixth No. 1 album on the Billboard 200 chart with the arrival of Hardwired… to Self-Destruct. The set debuts atop the list with 291,000 equivalent album units earned in the week ending Nov. 24, according to Nielsen Music. Of that sum, 282,000 were in traditional album sales. Hardwired was released on Metallica’s own Blackened Records on Nov. 18.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 10-dated chart (where Metallica launches at No. 1) will be posted in full to Billboard’s websites on Tuesday, Nov. 29.

Hardwired’s start is the third-largest debut of 2016 — both in terms of overall units and traditional album sales — behind only the arrivals of Drake’s Views (1.04 million units; 852,000 in sales) and Beyonce’s Lemonade (653,000 units; 485,000 sales).

Further, Hardwired sold more in its first week than any rock album in two-and-a-half years. The last rock album to sell more in a single week was Coldplay’s Ghost Stories, which bowed with 382,000 copies sold on the chart dated June 7, 2014.

Hardwired is Metallica’s first studio album since 2008’s Death Magnetic, which also bowed at No. 1, with 490,000 copies sold in its first week. Metallica’s last six studio albums, stretching back to its self-titled album (usually referred to as The Black Album) in 1991, have debuted at No. 1. Before Death Magnetic, the band topped the chart with St. Anger (in 2003), Reload (1997), Load (1996) and Metallica (1991).

Following Death Magnetic, the group released a collaborative album with Lou Reed (Lulu in 2011, which peaked at No. 36), an EP (Beyond Magnetic in 2012, No. 29) and the soundtrack to the documentary Metallica: Through the Never(2013; No. 9).

Hardwired was led at radio by its title track, which became the band’s eighth No. 1 on the Mainstream Rock Songs airplay chart (Oct. 8). The track also hit No. 9 on the Hot Rock Songs chart.

Hardwired also bows at No. 1 on the Independent Albums chart, as the set is distributed by Alternative Distribution Alliance, the indie distribution arm of Warner Music Group. Metallica had previously released its music through Warner Music’s Elektra Records (beginning in 1984) and then later through Warner Bros. Records. The band renegotiated its contract with Warner Music in 1994, and that contract expired in 2012. As part of that deal, the act walked away from Warner Music with its master recordings — like their mega-selling 1991 self-titled album — which the group has since reissued on Blackened Records.

At No. 2 on the new Billboard 200, Bruno Mars’ 24K Magic debuts with 231,000 units (194,000 in traditional album sales — Mars’ best sales week yet). It’s his third studio album, and all three have debuted in the top three on the chart.

24K Magic follows 2012’s Unorthodox Jukebox, which opened at No. 2 with 192,000 in sales and reached No. 1 the following year. Before that, Mars’ debut full-length set, 2010’s Doo-Wops & Hooligans, bowed and peaked at No. 2 (55,000 in its first week, later seeing its best frame over Christmas of that year: 84,000). The albums have sold 2.51 and 2.54 million copies, respectively, to date.

24K Magic’s title track (and lead single) gave Mars his 13^th top 10 hit on the Billboard Hot 100 chart, and has so far peaked at No. 5.

As Metallica and Mars both bow with more than 200,000 units for their respective albums, it marks the first time two albums have simultaneously launched with at least 200,000 in a year. (We’ve had a number of albums bow with 200,000 or more in 2016 — like Drake’s Views and Beyonce’s Lemonade — but they all arrived in separate weeks.) It last happened on the Dec. 5, 2015-dated chart, when Justin Bieber's Purpose bowed at No. 1 with 645,000 (522,000 in sales) and One Direction's Made in the A.M. debuted at No. 2 with 459,000 (402,000 in sales).

Next up on the new Billboard 200, Miranda Lambert notches the highest charting country album from a female artist in more than a year, as her new The Weight of These Wings debuts at No. 3 with 133,000 units (122,000 in traditional album sales). The last woman to rank higher on the chart with a country album was Carrie Underwood, who saw her Storyteller album spend its first two weeks on the chart at No. 2 (Nov. 14-21, 2015). It was also the last country album by a woman to launch with a bigger unit total and sales start: 177,000 units and 164,000 copies sold.

The Weight of These Wings, a double album, is Lambert’s sixth studio effort. It’s her fifth consecutive top 10-charting album, following Platinum (No. 1 in 2014), Four the Record (No. 3, 2011), Revolution (No. 8, 2009) and Crazy Ex-Girlfriend(No. 6, 2007). Her first album, Kerosene, debuted and peaked at No. 18 in 2005.

The new album’s first single, “Vice,” reached No. 2 on the Hot Country Songs chart back in August, marking Lambert’s 13^th top 10 hit.

As Metallica, Mars and Lambert all launch with more than 100,000 copies sold of their albums, it’s the first time in a year that three titles have each concurrently debuted with 100,000 sold. It last happened on the Dec. 5, 2015-dated chart, when Bieber’s Purpose and One Direction’s Made in the A.M. bowed at Nos. 1 and 2 with 522,000 and 402,000 copies sold, respectively, followed by Logic’s The Incredible True Story, which bowed at No. 3 with 118,000 sold.

Back on the new Billboard 200, Pentatonix’s A Pentatonix Christmas dips 2-4 with 101,000 units (though it’s up 80 percent) and A Tribe Called Quest’s We Got it From Here… Thank You 4 Your Service falls 1-5 in its second week (59,000 units, down 56 percent). The soundtrack to Trolls moves 3-6 with 53,000 units (up 12 percent) while Garth Brooks and Trisha Yearwood’s collaborative holiday album, Christmas Together, rises 11-7 with 39,000 units (up 84 percent). The latter set gives Brooks his 17^th top 10 album, and Yearwood her third (and first since 2005’s No. 4-peaking Jasper County).

Rounding out the top 10 are Rae Sremmurd’s Sremmlife 2 (4-8 with a little more than 38,000 units, down 11 percent), the original Broadway cast recording of Hamilton (6-9 with 38,000 units, up 24 percent) and Drake’s Views (5-10 with 34,000 units, up 8 percent). Hamilton likely rises thanks to publicity generated by the brouhaha over vice president-elect Mike Pence’s visit to the show on Nov. 11.

O Que Os 50 Maiores Festivais Revelam Sobre A Indústria Da Música Ao Vivo

What The Top 50 Global Music Festivals Reveal About Today's Live Music Industry

Festivals are often cash cows for the music industry, and 2016 is proving to be no different.

The Coachella Valley Music and Arts Festival, which took place over two weekends in April 2016 in Indio, CA, generated $704 million in overall spending activity by consumers and businesses, and contributed an estimated $106 million to the local economy. The U.K.’s Glastonbury Festival, which attracted 135,000 attendees this year, has increased physical sales for Adele, Mercury Rev and other indie and celebrity performers by as much as 1,009% to 6,600%.

Coachella and Glastonbury reign atop the inaugural Festival 250, a Stubhub-sponsored report of the top global festivals of 2015 conceived by the B2B music publication Festival Insights, in collaboration with market research firm CGA Strategy. Released in September 2016, the rankings incorporate factors such as duration, ticket revenue, capacity and sponsorship estimates, and paint a compelling picture of both dominant and emerging markets in live music.

Below are the most significant trends among the top 50 festivals on the list—signifying how both geographies and genres are becoming more diverse on the world stage, creating more competition for incumbent players.

The U.K. and the U.S. dominate the top 50, while Africa, Asia and Latin America are nearly nowhere to be found—for now.

21 of the top 50 festivals in 2015 took place in either the U.K. or the U.S., with two in California and two in Florida alone. Europe overall has strong representation as well, with Germany, Belgium, Austria and the Netherlands following the U.K. and U.S. as the top countries.

In contrast, Africa, Asia and Latin America account only for three entries among the top 50. Fuji Rock in Niigata, Japan ranks at No. 3 behind Glastonbury; Rio de Janeiro’s Rock in Rio clocks in at No. 19 in between two U.K. festivals; Magazine in Rabat, Morocco, ranks at No. 25 before Ultra.

Festivals are often cash cows for the music industry, and 2016 is proving to be no different.

The Coachella Valley Music and Arts Festival, which took place over two weekends in April 2016 in Indio, CA, generated $704 million in overall spending activity by consumers and businesses, and contributed an estimated $106 million to the local economy. The U.K.’s Glastonbury Festival, which attracted 135,000 attendees this year, has increased physical sales for Adele, Mercury Rev and other indie and celebrity performers by as much as 1,009% to 6,600%.

Coachella and Glastonbury reign atop the inaugural Festival 250, a Stubhub-sponsored report of the top global festivals of 2015 conceived by the B2B music publication Festival Insights, in collaboration with market research firm CGA Strategy. Released in September 2016, the rankings incorporate factors such as duration, ticket revenue, capacity and sponsorship estimates, and paint a compelling picture of both dominant and emerging markets in live music.

Below are the most significant trends among the top 50 festivals on the list—signifying how both geographies and genres are becoming more diverse on the world stage, creating more competition for incumbent players.

The U.K. and the U.S. dominate the top 50, while Africa, Asia and Latin America are nearly nowhere to be found—for now.

21 of the top 50 festivals in 2015 took place in either the U.K. or the U.S., with two in California and two in Florida alone. Europe overall has strong representation as well, with Germany, Belgium, Austria and the Netherlands following the U.K. and U.S. as the top countries.

In contrast, Africa, Asia and Latin America account only for three entries among the top 50. Fuji Rock in Niigata, Japan ranks at No. 3 behind Glastonbury; Rio de Janeiro’s Rock in Rio clocks in at No. 19 in between two U.K. festivals; Mawazine in Rabat, Morocco, ranks at No. 25 before Ultra.

Asian digital music markets are growing rapidly, creating new opportunities for live music festivals. (Graphic courtesy of McKinsey & Company)

This exclusion may be somewhat misleading, as renowned festival franchises are already expanding their empires into these continents. In Latin America, Electric Daisy Carnival (EDC), Tomorrowland and Creamfields have been organizing offshoot festivals in Argentina, Brazil, Chile, Colombia and Peru. The weekend of November 12, 2016 alone saw the premiere of Electric Zoo: Countdown Shanghai and EDC India, and Ultra Worldwide wrapped up its Ultra Asia tour in September 2016.

Many of Africa’s most popular music festivals, such as Malawi’s Lake of Stars and Swaziland’s Bushfire, highlight local artists and traditions, making them less easily penetrable by American franchises. Even Mawazine, which featured stars from Iggy Azalea to Hardwell this year, dedicates the vast majority of its lineup to African talent.

One of the live industry’s biggest barriers to growth in Africa and Asia is domestic political conflict. Mawazine is organized by the personal secretary to Morocco’s King Mohammed VI, which has led critics to call the government’s financial priorities into question amidst national problems of poverty and unemployment. The Chinese government has blocked YouTube and SoundCloud, two key engines for increasing exposure for artists and listeners who would otherwise be siloed by their location.

Nonetheless, both Africa and Asia are surfacing as exciting markets for the music industry, driven by a surge in digital consumption. Although Asia accounts only for 14% of global digital music revenue, the continent represents 44% of all internet users, according to research by McKinsey & Company. The digital music industry in Southeast Asia in particular grew at more than 20 times the average global pace between 2011 and 2015. According to CISAC’s 2016 Global Collections Report, Africa saw a 13.6% rise in overall music royalty collections and a 33.2% rise in live/background music royalties last year. We can expect a more robust live music infrastructure to emerge in these music economies as more money and data get pumped in through streaming, giving otherwise localised artists access to larger audiences.

DOVER, DE – JUNE 18: Recording artist Anthony Gonzalez of M83 performs onstage at Firefly Music Festival on June 18, 2016 in Dover, Delaware. (Photo by Theo Wargo/Getty Images for Firefly)

Genre diversity doesn’t matter, and the lineups for U.S. festivals aren’t as unique as you may think.

The Festival 250 indicates no significant correlation between ranking and genre diversity, with plenty of rock-only or electronic-only festivals ranking high on the list alongside those with a wider musical spread.

Interestingly, the lowest-paid genres in the music industry overall perform particularly well on the festival circuit. As FORBES reported earlier this year, EDM and hip-hop do not bring in as much cash as rock, pop and country on average, due to their relatively nascent maturity as genres. Yet, 14 of the top 25 festivals in 2015 featured EDM and dance, while 11 of the top 25 featured hip-hop. The strong presence of these two genres on streaming services—hip-hop is the most-streamed genre in the world, and EDM’s fundamentally digital form thrives best on SoundCloud and other online communities—makes them easily marketable to international audiences, translating to prominent visibility on the world stage.

As a variety of artists become more popular on a global scale, it will become more difficult for the top festivals to distinguish themselves solely through their lineups. In fact, many lineups seem to be converging, with artists and groups “festival-hopping” across the world to serve different audiences with largely similar tastes.

To analyse the extent to which festival lineups overlap, I compared the top five U.S. festivals according to the Festival 250—Austin City Limits, Bonnaroo, Coachella, Firefly and Governors Ball—and mapped their 2016 lineups onto a Venn diagram:

DOVER, DE – JUNE 18: Recording artist Anthony Gonzalez of M83 performs onstage at Firefly Music Festival on June 18, 2016 in Dover, Delaware. (Photo by Theo Wargo/Getty Images for Firefly)

Genre diversity doesn’t matter, and the lineups for U.S. festivals aren’t as unique as you may think.

The Festival 250 indicates no significant correlation between ranking and genre diversity, with plenty of rock-only or electronic-only festivals ranking high on the list alongside those with a wider musical spread.

Interestingly, the lowest-paid genres in the music industry overall perform particularly well on the festival circuit. As FORBES reported earlier this year, EDM and hip-hop do not bring in as much cash as rock, pop and country on average, due to their relatively nascent maturity as genres. Yet, 14 of the top 25 festivals in 2015 featured EDM and dance, while 11 of the top 25 featured hip-hop. The strong presence of these two genres on streaming services—hip-hop is the most-streamed genre in the world, and EDM’s fundamentally digital form thrives best on SoundCloud and other online communities—makes them easily marketable to international audiences, translating to prominent visibility on the world stage.

As a variety of artists become more popular on a global scale, it will become more difficult for the top festivals to distinguish themselves solely through their lineups. In fact, many lineups seem to be converging, with artists and groups “festival-hopping” across the world to serve different audiences with largely similar tastes.

To analyze the extent to which festival lineups overlap, I compared the top five U.S. festivals according to the Festival 250—Austin City Limits, Bonnaroo, Coachella, Firefly and Governors Ball—and mapped their 2016 lineups onto a Venn diagram:

Lineup overlaps of the top U.S. music festivals in 2016. (Analysis and graphics by Cherie Hu)

Governors Ball had the highest proportion of overlap acts in 2016, with 51.5% of its acts performing at one or more of the other four festivals. In terms of price paid per artist, Governors Ball was also the most expensive among top U.S. festivals, with a multi-day general admission ticket costing $3.88 per artist, as FORBES reported in April 2016. In contrast, 21.7% of Austin City Limits’ lineup consisted of overlap acts, and a multi-day stub cost only $1.66 per artist, slashing Governors Ball’s price by more than half.

The overlap acts included both emerging and celebrity artists across a wide range of genres. Electropop band M83 was the only group to perform at all five festivals; rapper Vince Staples, folk-rock band Nathaniel Rateliff & The Night Sweats and synthpop outfit CHVRCHES played at four out of the five. In total, 22 artists performed at three out of the five festivals, and an additional 56 artists performed at two of the five (if you’re interested in diving more deeply into the lineups, here’s the raw data).

Moreover, similar artists tend to festival-hop together. For example, electronic artists AlunaGeorge, Gallant and Major Lazer all performed at Austin City Limits, Coachella and Firefly, while indie groups Oh Wonder, St. Lucia and Saint Motel all played at Austin City Limits, Bonnaroo and Firefly.

If these lineups are becoming less distinct, what unique value can festivals bring to the table? The Festival 250 hinted at a possible solution in its writeup about Coachella. By engaging early with digital distribution channels like YouTube, the festival got a leg up early on in “transcend[ing] the insularity of its physical limitations” and reaching wider audiences, wrote the report. In a similar vein, the inaugural Panorama Festival in New York City—which was not included on the Festival 250 list—showcased not only a stacked music lineup, but also a music-technology “playground” with interactive art installations and a 360º virtual reality theater.

As festivals internationalise further and embrace more musical diversity, they will have to adopt a similar mindset—thinking not just about the sounds fans will hear, but also about adjacent experiences around technology and lifestyle, either remotely or on the ground, that will make the entire experience more memorable

Nova Demo Sound Design - Adidas - Animation Video

New Demo Sound Design - Adidas

Hi Everyone!

Well, I received this quote a couple weeks ago, from a company in LA.

They gave me just a few hours to create a sound effect with no drum for this animation. They sent a sample with some sounds as reference with drums.

Well, this is final results as you can see on video below!

Any comments will be welcome. See you! 

P.S. They put the project in standby!! Things like this happen all the times.

Quem Ganhará A Batalha Nos Serviços De Música No Streaming

Who Will Win The Battle Of The Music Streaming Services?

Answer by Glen Sears, music industry digital strategist & web developer, on Quora:

The future of music streaming services might look like this:

1. From a business development perspective the big question is whether or not standalone streaming can ever generate long-term profit. Companies like Spotify, Apple, Google, Napster, and others are iterating so quickly to develop the “gotta-have-it” feature set that will send their paid user count through the roof and tip the economies of scale in their direction.
2. From a technology perspective the big question is what users want. Everyone is pretty darn comfy with the $10/month price point of streaming services, and getting them to budge will require a massive technology driver. TIDAL tried it with high-def audio. Maybe VR?
3. From a royalty and payments perspective the big question is who can deliver global royalties fastest, most efficiently, and most accurately. Companies like MediaNet, SOCAN, Cobalt, and others are pouring countless dollars and hours into building the payment pipelines of the future.

The future of streaming music belongs to whomever’s vision of that future bears enough possible ROI to continue generating outside financing into the foreseeable future.

Personally, I hope the future of streaming music integrates live concert experiences—presented in real time—and possibly VR or AR. There are so many concerts I’d love to attend but can’t for geographical reasons. Pipe them into my home, though, and I might very well pay a “digital experience” ticket price.

Metallica - O Catálogo Está De Volta ao NAPSTER

Metallica's Music Catalog Back On Napster, 10th Album 'Hardwired...To Self-Destruct' 

First of all thanks to Dana Feldman  for this article.

Metallica is inarguably the best-selling heavy metal band in the world, selling over 56 million albums domestically and over 110 million worldwide, a feat surpassed by only The Beatles and Garth Brooks. Suffice it to say, Napster just re-landed a huge win with the band’s entire music catalog, which is once again available on the newly revamped music streaming site. And, the timing couldn’t be better with the release tomorrow of Metallica’s tenth studio album entitled Hardwired…To Self-Destruct. 

As was widely reported 17 years ago, the heavy metal giants filed a lawsuit against the then-controversial Napster, which was originally launched as a free site to share music. The band has said that the motive for the lawsuit was never financial and was about control of their music. The source of contention was the song “I Disappear” that was recorded for the Mission: Impossible II soundtrack. The song leaked and was played on the radio prior to the completion of the final mix. They then realized their entire catalog was up on the peer-to-peer (P2P) network. In 2012, Metallica formed their Blackened Recordings label and took full ownership of all albums and videos.

The music industry was forever changed by this new way of accessing music online. Napster had morphed into a hub for pirated music, leading the former P2P file-sharing internet service into legal difficulties over copyright infringement. It ceased operations after being hit with a federal lawsuit in 2001 that prohibited it from having copyrighted music on the site, thus shutting it down.

Napster filed for bankruptcy in 2002 but this wouldn’t be the end of the story for the defunct site. Roxio would swoop in and acquire it, morphing it into an online music store. Rhapsody, one of the first subscription music streaming services, then purchased it from Best Buy in 2011 and it has finally made its comeback as a legitimate fully-licensed streaming service with 3.5 million paying subscribers spanning 34 countries.

Napster also has a newly-formed partnership with telecom giant Sprint, gaining direct access to its 60 million customers. It still faces stiff competition with Spotify and Pandora, in addition to streaming services from Apple, Amazon and Google.

Unlike sharing files, music streaming has become a viable business model with increasing revenues that hit the $1.6 billion mark in the first half of this year, per RIAA. 

Fans are ecstatic about this new album as the band continues to top records. Their eponymous 1991 album, known as The Black Album, recently hit a new milestone, selling over 16 million copies domestically, making it the best-selling album of the SoundScan era.

“The release of Metallica’s new album comes at an incredible time for streaming music with streaming subscriptions accounting for almost half of industry sales in the first half of 2016,” Napster said in a statement. “Today, Napster is a legal, paid subscription service with a catalog of over 40 million tracks. We are thrilled to bring Metallica’s full catalog, including their latest new album, to Napster subscribers around the world.”

Google Está Lançando Um Festival Chamado De "Good Fest"

Google is launching a music festival called Good Fest

First of all thanks to Lara O'Reilly for this article.

Google is launching a music festival called Good Fest later this month, which it is describing as a "a first-of-its-kind livestream festival for good," according to the event's website.

The first concert will see English indie band Glass Animals perform at BAM Cafe in New York City on November 29. A further four shows will follow across four different cities in the US, all livestreamed on YouTube.

The concerts will raise money for non-profits through ticket sales and online donations. 100% of the ticket sales for the Glass Animals gig, for example, will go to DonorsChoose.org.

The Good Fest website describes the event as "a celebration of progress, positivity, and the power of people to push the world forward."

Google is using the event to promote its new Pixel smartphone, which will be used to record backstage footage and will be heavily referenced at the events and their promotional material.

Good Fest has been launched in partnership with Good Media, a company that produces its own website and quarterly magazine and forms media partnerships designed to create social impact. Essence, Google's digital agency, is also helping produce and promote the event.

While the Good Fest website makes no reference to the current political climate, the timing of the launch is likely not coincidental. 

Future events as part of the festival are being billed as played for "humanity," "earth,"equality," and "love." Upcoming concerts will include artists such as Gogol Bordello and D.R.A.M.

Google was not immediately available to comment.

Um Novo Processo De Prensagem Pode Melhorar A Produção De Vinis? Video

Can A New Process Improve Record Pressing?

First of all thanks to my friend BOBBY OWSINSKI  for this article.

Making a vinyl record is a messy, time consuming business. It involves toxic chemical baths, huge mechanical presses, stampers that wear out easily, and maybe worst of all, the final product is made from a petroleum product. Record pressing has shown small improvements over the years, but for the most part, it’s still done the way it was 40+ years ago.

But that could change soon. A new injection moulding process invented by the Dutch company Symcon, promises not only to cut production costs, but to improve sound quality, and reduce the environment impact of conventional record pressing as well.

In a conventional record press, a PVC puck is heated with steam until it’s soft, then placed between the two stampers that press the puck for about 8 seconds. Another 16 seconds is then required for the record to cool off before the process can begin again.

In the new process, the plastic mixture is heated in advance, injected between the two stampers, then pressed for a few seconds and cooled for another 20 seconds to make sure the mixture reaches the outer edges of the stampers.

There are several big advantages with injection moulding. First of all, the amount of energy used is cut by up to 65%. There’s no excess vinyl around the record that needs to be cut off, and the stampers last much longer before they degrade. Currently, a stamper only lasts for around 2,000 records before it must be replaced. Yet another happy byproduct is that the noise is reduced by up to 10dB over conventionally pressed records.

This seems like a slam dunk, but there are still a few challenges to overcome though. So far, injection moulded records are less durable, as they show signs of wear after 35 plays compared to 50 times for a vinyl record. The price is also about 25% higher, although that should come down over time. It also takes more time to actually press the record, which is a serious disadvantage.

So this new system holds a lot of promise, but it’s too early to tell whether it’s revolutionary or not. Here’s a video that explains more, as well as a bit of an interview with one of the engineers.

CISAC Arrecada Mais De 9 Bilhões (US) De "Royalties" Em Nome Dos Compositores

Worldwide Collections on Behalf of Songwriters Hit $9.1 Billion

Royalties collected on behalf of songwriters, composers and creators worldwide by CISAC, the International Confederation of Societies of Authors and Composers Societies, climbed to a record high of €8.6 billion ($9.1 billion) in 2015, up 8.9 percent on the previous year (4.4 percent in constant exchange rates). 

In 2015, collections from digital services jumped 21.4 percent, representing 7.2 percent of overall royalties collected around the world.

It’s the third consecutive year of growth for CISAC, with music collections alone generating €7.5 billion ($7.9 billion), up 8.5 percent year-on-year and accounting for almost 90 percent of the total, according to the organization’s latest Global Collections Report.

For the first time, the report consolidates figures collected from societies and music publishers on the digital music business in six key markets (U.S., Canada, U.K., France, Germany and Sweden) alongside financial data (based on gross domestic collections) from the organization’s 239 member societies, representing over four million creators of music, audio-visual works, drama, literature and visual arts across 123 countries. 

In terms of regions, Europe generated €5 billion ($5.3 billion) of total royalties, up 3.6 percent on 2014 and representing 58.4 percent of CISAC’s global total. North America posted the strongest growth, with collections up 33 percent year-on-year (13.2 percent at fixed rates) to total €1.76 billion ($1.86 billion). CISAC attributed the dramatic spike to exchange rate fluctuations and the inclusion of revenues from the Harry Fox Agency (now part of the SESAC group), which were included in the organization’s data for the first time.  

Elsewhere, Asia-Pacific accounted for 14.2 percent of royalties collected ($1.2 billion, up 5.6 percent year-on-year), while Latin America and Caribbean represented 6.4 percent of collections ($579 million, up 3.7 percent). Africa also saw encouraging growth with collections climbing by almost 15 percent between 2014 and 2015. 

Royalties for public performance rights posted a growth rate of 9.1 percent, climbing to €6.8 billion ($7.2 billion) and accounting for 78.8 percent of overall collections.

“Such a positive report matters a lot to creators worldwide,” commented CISAC president and electronic music pioneer Jean-Michel Jarre. “Like everyone else, we rely on the health of the economy. However, unlike others, we truly depend on our societies to collect our royalties so that we can continue creating.” 

In what can be read as a thinly veiled criticism of user-generated platforms like YouTube, which pay smaller royalties than other digital services, he went on to stress the need for “effective systems that capture the value of our works and require those who benefit from them to pay us fairly.”

CISAC director general Gadi Oron echoed that theme saying despite “encouraging” growth in collections from digital platforms, the total share of digital income collected by CISAC members remains “fairly low.”

“The main root of the problem remains legal loopholes and outdated laws which prevents our members from obtaining fair royalties from digital platforms in many countries,” commented Oron. “The huge difference between collections from subscription services and ad-supported platforms is not only alarming, but also clear evidence that regulatory solutions are desperately needed." 

"Some major online services generate huge profits from the use of creative content, but refuse to share them with the creators of that content. What we are witnessing is a transfer of value from those who create to those who disseminate; an unfair situation which requires urgent attention from governments and legislators,” he went on to say. 

Marketing Do Som: Os Últimos Filmes Da Disney Capitalizam A Nostalgia Dos Temas - Videos

Sound Marketing: Disney's Latest Film Trailers Capitalize On Nostalgic Music Themes

First of all thanks to  Jordan Passman for this article.

When we watch Disney’s trailers for Beauty and The Beast, Rogue One: A Star Wars Story and The Jungle Book we are also listening. These iconic movie themes are powerful, and evoke nostalgic emotions that make us excited to re-enter their magical and wondrous worlds.

As a child, these movies never got old, (even after hundreds of viewings), and when we weren’t watching we were blasting their soundtracks on repeat. Disney capitalizes on the incredible synergy between music and film, and uses this as a tool to successfully launch their re-imagined classics today. With millions of views on YouTube for each franchise within hours of their release (and incredible profits for Disney – according to Box Office Mojo, Star Wars: The Force Awakens has pulled in a staggering $2,068,223,624, and The Jungle Book at $966,522,188), it’s clear their strategy is working and we, as consumers, love it. According to EW, the latest Beauty and the Beast trailer garnered 127.6 million views in 24 hours across multiple platforms around the world (though not including China), which is more than the previous record holder, Star Wars: The Force Awakens (with 114 million views within its first 24 hours).

I spoke with Jackson George, Senior Vice President of Creative Advertising at Disney, who explained, “Music carries really deep emotional codes – you associate experiences and feelings with music. There’s no other art form that has the same ability to attach itself to moments of your life. No matter who you are, when you hear the first few notes of a Star Wars melody, you’re able to re-live that original feeling of wonderment and joy.”

According to Psychology Today, songs are typically associated with a general time of your life, rather than a specific event. So even amidst a stressful childhood, or a brighter one, your favorite Disney movie may have been your escape or happy place. When you hear the emotional piano intro from Beauty and the Beast, you are instantly transported to that special feeling of purity, innocence and comfort. Today, many of those then kids are now parents, ready to take their own children to experience the magic.

With that said, hitting the nostalgia nerve doesn’t mean the approach needs to be retro. In fact, it’s often very effective to re-imagine these classic themes with a modern twist, as it allows the consumer to hear the material that’s been so deeply burned in their memory in a whole new light. Generally speaking, trailer music is very distinguished from your typical film score. For these films in particular, the music must go through every range of the emotion throughout the trailer, with a clear beginning, middle and end.  Some of these original melodies, while incredible, can fall flat of telling the story with the epic tone needed to get audiences amped up. That’s why in some cases, like The Jungle Book, a custom original score is more effective and ultimately executed. But in true Disney fashion, even that trailer ends with the famous few whistled notes from “Bare Necessities” to boost you with childlike anticipation and joy. According to George, and I completely agree, “You have to trigger emotion and music is the quickest way to the heart.”

How do you feel about Disney’s slate of remakes and the re-imaginations of these beloved themes?