Amazon Esta Perdendo Dinheiro Com o Seu Novo Serviço De Música

Amazon Is Actually Losing Money From Its New Music Service

First of all thanks to Bobby Owsinski  for this article.

The major record labels are adamant about keeping the price of a music streaming subscription at $9.99 per month, regardless of the platform, so it was a great surprise last week when Amazon announced that its new Amazon Music Unlimited service was priced at $7.99 per month for Amazon Prime members. It turns out that the labels haven’t softened their pricing stance at all, as Music Business Worldwide reported that Amazon will actually end up subsidising the other two bucks when all is said and done.

It turns out that Amazon is expected to be paying out from between $5.50 to $6 each month to record labels and artists for each $7.99 Prime subscriber, and an additional $1.50 a month to publishers and songwriters. When you figure in administration, marketing, staff and infrastructure costs, that means that most if not all of that monthly fee has pretty much been eaten up.

So what’s the company’s end game? Amazon might be pulling an Apple here, losing money on software in order to sell more hardware and make a much higher profit. While Echo and Dot seem to be hits and are the leading products in this new category, there very well may be more hardware devices from the company on the way. Using music streaming as a loss-leader to make it’s hardware more attractive has been tried by many companies though, particularly in the mobile space, and only Apple has been wildly successful with the strategy.

The price subsidy could also be another way to increase Prime memberships. While Amazon doesn’t publish the actual number of subscriptions, insiders have reported it to be around 60 million, and when you consider that each one is paying $99 a year for the privilege, you can see why anything that might increase that number could be valuable. Still, it seems like a stretch to think that the average music user will say to himself, “I really want to subscribe to this music service because of this great price. Let me pay just $99 more so I can buy in.”

In the end, I think Music Unlimited’s pricing structure comes down to a little of column A and a little of column B, with most of the emphasis on selling more hardware. Almost every service looks great at launch when things look their freshest and rosiest. Check back after the first of the year to see what the reality really is.

ENCORE Quer tornar Mais Fácil Agendar Um Músico Ou Um Banda Para O Seu Evento

Encore wants to make it easy to book a musician or band for your event

Encore, a U.K. startup and graduate of Entrepreneur First, is another example of a company attempting to disrupt the traditional agency model. Targeting booking agencies, it lets you find and book a musician or band online for your event. The marketplace has already attracted over 18,000 musicians, and I’m told 30 per cent are active each month.

To further grow the company, Encore is disclosing that it has raised just over £560,000 in Seed funding. It plans to use the new capital to expand its team and begin paid marketing in a bid to increase the demand side of its marketplace.

Noteworthy is that Entrepreneur First itself has participated in the round. The investment is the first made public from the company builder’s new £40 million “Next Stage Fund”, which it set up to back alumni companies with follow-on funding.

“Finding great musicians for your venue or event is a nightmare,” says Encore co-founder James McAulay. “The booking process is clunky and slow, often takes weeks, and once you’ve finally found the right group or musician, confirming the booking involves a minefield of contracts, invoices and old-school payments. After this, the telephone calls and text message begin, along with organising the logistics of the venue and deposit payments… the list is endless”.

In addition to making it easier to book musicians and bands, McAulay says that Encore aims to improve pay and conditions for the musicians themselves by cutting out (and replacing) the traditional agency middle person. “Musicians are tired of being ripped off by traditional agents who take a large cut and often don’t have the musicians’ best interests at heart,” he says. “Encore brings transparency to an industry that desperately needs it”.

The site works as follows: those putting on an event simply submit the type of musician or band they wish to hire, providing details like instrument, genre, and time and place. Encore then takes that information and sends out an alert to matching musicians and bands who are registered on its mobile app.

Musicians that are available and interested then respond with a quote and the booker can check their profile and Soundcloud links etc., and ask any follow up questions before making a booking. Payment is then processed via Encore, which takes a 15 per cent booking fee along the way.

“Instead of forcing customers to browse directories of musicians who may not be available, we ask for one enquiry that is then sent to local performers,” explains McAulay. “Available acts respond with a tailored quote for the event, usually within twenty minutes, giving the client a shortlist of suitable acts to choose from. Quick, simple and efficient”.

Pandora Perdeu 250 Milhões Este Ano - Irá Trocar O Modelo De Negócios Para Salva--la?

Pandora Has Lost $250 Million This Year -- Will Switching Business Models Save It?

HOUSTON, TX – OCTOBER 18: Singer-songwriter Yuna performs onstage during the Life at Pandora Gallery on October 18, 2016 in Houston, Texas. (Photo by Rick Kern/Getty Images for Pandora)

While it is still one of the biggest and most influential players in the streaming music industry, not everything is looking up for Pandora, which has been losing huge sums of money all year. According to financial documents just recently filed, the company’s third quarter had some positives and negatives, but it’s by adding up the figures from the first half of 2016 that the real scope of the monetary problem becomes clear.

In its third quarter, Pandora posted a loss of $61 million. Adding that number to the amount lost in the first two quarters of the year brings Pandora’s total losses so far this year to a hefty $253 million, which isn’t safe ground for any business to stand on. With three months to go, its total losses in 2016 could hit the $300 million mark.

There are several factors hurting the company’s bottom line, but it seems like one of the biggest financial burdens for the internet radio behemoth could also wind up being one of its biggest and most important revenue sources soon enough. The company’s CEO, Tim Westergren, admitted to investors while sharing the numbers that part of the reason why losses were so high this time around was because Pandora had to pay advances to content owners for licenses that would allow the company to launch its new streaming tiers with some on-demand-leaning features, which were revealed last month. 

It’s believable that paying for those licenses did hurt Pandora’s financial standing in the past quarter, and that depending on the deals, that could be the case for a time to come, but that doesn’t explain the past few quarters of losses, and it’s an explanation that will only work for so long. Adding on-demand functionality clearly comes with a sizeable cost upfront, but it isn’t the only issue the company faces, and Pandora will need to find money elsewhere if it wants to balance the books.

It certainly hurt the Oakland, CA-based radio giant’s wallet to pay for everything necessary to become something of a “new entrant” to the on-demand streaming market, but it could come with huge payoffs, and it might be just the thing to slow down all of these unfortunate losses. With its newly updated and recently announced Pandora Plus tier, the company is much closer to competing directly with massively popular options like Spotify and Apple Music, which are growing at faster rates when looking at user numbers.

It might be priced at only $5 per month (at least that’s the most attractive option), but if Pandora can convince even just some of its 77.9 million users (down from 78.1 million during the same period last year) to switch to this paid tier, while also recruiting new members, the big bill the company just paid, and which it will continue to pay, could wind up being a solid choice, and there’s a chance that the future is a bright one for Pandora.

Os Sons Do Battlefield 1 - Podcast E Vídeo

The Sound of Battlefield 1

Attention soldier! In this episode we talked with Lead Sound Designer Andres Almstrom and Audio Director Bence Pajor from EA Dice studios located in Stockholm, Sweden who recently finished work on Battlefield 1.

In Battlefield 1 the player will experience the origins of modern warfare where the old world was destroyed, giving way to the new one. The player will experience innovative, modern weaponry and vehicles of World War I as you battle across the land, air and sea.

This podcast is sponsored by THX, a globally renowned brand focused on delivering premium entertainment experiences and is passionate about telling the stories of the creators behind great productions. THX certifies the world’s best consumer electronics to provide users with the assurance of superior quality. Find out more at www.thx.com

Festivais De Música Explodem Globalmente: Enormes, Pequenos, Extravagantes e Conferências

Music Festivals Exploding Globally: Huge, Tiny, Extravagant and a Conference

First of all thanks to Brad Auerbach  for this article.

The explosion of music festivals worldwide has resulted inevitably in a need to diversify. The ultimate diversification, in one sense, is to assemble an unbeatable lineup. That was certainly the case for Desert Trip, which will likely go down in history as the largest revenue generating festival in history. It will be just about impossible for anyone to beat the lineup of Bob Dylan, Rolling Stones, Neil Young, Paul McCartney, The Who and Roger Waters, regardless of the size of a archest to pay for artists.

Another festival strategy that is emerging is the destination festival, where the venue is as much an attraction as the performers. Ondalinda is in the latter camp. Situated in Costa Reyes, Mexico later this week, the organizers seek a more intimate gathering of about 400 people. The inaugural festival is described as a boutique music and lifestyle festival. The focus on the stunning setting and the indigenous Huichol culture includes a ‘giving back’ dynamic which is becoming a welcome element to gatherings of this sort.

The Ondalinda organizers point out that the inconvenience of the location takes you off the map in a positive sense. Attendees will have an hour drive from Manzanillo International Airport and a 2.5-hour drive from Puerto Vallarta unless they can arrange to buzz into the private landing strip nearby.

Once arriving at Costa Reyes, attendees will have a blend of first and third world activities focusing on health and wellness, including jungle yoga, meditation, massage, paddle boarding, kayaking, scuba, and horseback riding.

The team producing Ondalinda are veterans of Burning Man and Further Future, so visitors can expect that somewhat indefinable and intriguing collision of technology, rustic simplicity and global awareness.

Set in a private family-owned beachfront resort, the vibe is expected to be a mashup of party, outdoor and health. Music is always at the core of such gatherings, and the international lineup includes ethereal vocals and minimal production from Vienna duo HVOB, deep global instrumentations from Berlin-based producer NU, deep baselines from Barcelona’s Audiofly, tribal soundscapes from female duo BLOND:ISH, and luscious deep house vibes from LA producer Sabo, along with LUM, Gandalla, MENDRIX, and The Happy Show.

Mayan Warrior is a rolling art installation, originally painted by visionary artist Alex Grey, and was at Burning Man this year and performed a set with Robot Heart. When I saw Robot Heart at Further Future, I was astounded by its sonic punch. Mayan Warrior has apparently “recently received millions of dollars worth of mind-blowing improvements with awe-inspiring lasers and a visceral sounds system to transport onlookers to the very origins of Mexican culture.” It is uncertain how this will be accomplished; there is no promise of virtual or augmented reality. But it is a good bet that a mammoth sonic and visual experience will be on offer.

Furthering the visual arts on offer, Mexico-based entrepreneur and artist Philippe Moellhausen will install Teopa Beach with monumental art pieces, vibrant decor, dazzling costumes, and indigenous live performances.

Also on offer will be spa services such as mud baths, massages, and ritual healing ceremonies to further assuage (or enhance) the inevitable sensory overload.

Many festivals are wisely including significant culinary upsell options. At Ondalinda, the cuisine will be suitably upscale.

The promoters stress that “Ondalinda aims to honor authenticity by showcasing the art and teachings of the local Huichol culture. A portion of net profits from the festival will be donated to the Huichol to support their mission to preserve sacred land through the organisation UNESCO, and an exclusive collection of Huichol art by the name ‘Los Navegantes del sueño’ will be displayed with never before seen masterpieces that reflect the cosmovision of this mystic community.”

The whole Ondalinda shebang will cost attendees $1000 for admission, which includes some food. Lodging options range from simple casitas to more extravagant venues including castles.

The publicity team behind Ondalinda are already looking ahead to their next destination festival, which will be in Thailand. Called Wonderfruit, the event is being postponed until February 16-19, 2017 to pay tribute and respect to the recently deceased His Majesty King Bhumibol Adulyadej.

Not surprisingly, the burgeoning festival market has spawned its own conference. XLIVE in Las Vegas will cover everything from data analytics to optimal beer selections to geofencing.

Seemingly not a weekend goes by without a music festival being presented somewhere.

Elvis Está De Volta: Presley Encabeça O Ranking (Top Chart)

Elvis Is Back: Presley Heads For Chart Record

First of all thanks to Mark Beech  for this article.

Elvis Presley, we are still stuck on you. The late star is returning to the top as Albums King and is heading for a chart record.

Fans are still proclaiming “The wonder of Elvis” nearly 40 years after his death. The second collection of re-workings of his hits with the Royal Philharmonic Orchestra (titled, naturally, The Wonder Of You) is likely to leave the charts all shook up yet again. Its No. 1 rank would also give a record-breaking 60 years since his first British chart-topper in 1956. If it holds on, it will also give Presley the most British No. 1 albums of any solo artist ever, ahead of Madonna with 12. The Beatles hold the record for the most chart-topping albums on the Official Chart, with 15.

Presley already made headlines with the album’s predecessor, If I Can Dream, which has sold 1.6 million copies globally.

The Wonder of You takes the original vocals and fuses them with new orchestral performances in London’s Abbey Road studios. There are hits such as “A Big Hunk o’Love,” the lead-off track and single, “Suspicious Minds” and “I Just Can’t Help Believing” – as well as a new duet with Helene Fischer titled “Just Pretend.”

The British No. 1 is considered even more remarkable when the star never visited the country, aside from a brief airport stop on Mar. 3, 1960, when he was returning from military service in Germany.

Presley came in fourth place in the FORBES list of top-earning dead celebrities in 2016 with earnings of $27 million. This is down from second place at $55 million in 2016, because of a different way of accounting for Graceland ticket sales, but he is making more than most living stars and shifted more than one million albums during the year, most of them physical, not digital. (Michael Jackson remains in top slot with $825 million.)

Still, the No. 1 place may not be achieved in all countries. In the U.K., the new Elvis album, on Legacy RCA, leads the way by just 3,500 combined sales at the “mid-week” stage just announced.

The King has to beat Michael Bublé, whose ninth studio album Nobody But Me (on Reprise) is close behind at Number 2. Ironically, the last Elvis album included “Fever,” a newly created duet with Bublé. Lady Gaga’s new album Joanne (Interscope) currently sits at 3. You Want It Darker (Columbia), the 14^th studio album by Leonard Cohen, 82, is one place behind at No. 4. The U.K. chart remains volatile, with a lot of new releases shooting to the top briefly before falling back: the Kings of Leon album Walls drops from the top to fifth position. The cast recording of the new David Bowie musical Lazarus is among other rising stars.

6 Fontes Que Podem Tornar-lo Um Compositor "Hit" (Nenhum Deles É Sobre Guitarra)

6 Resources That Can Help You Become A Hit Songwriter (And None Of Them Is A Guitar)

Brent Baxter is a hit songwriter with cuts by Alan Jackson, Randy Travis, Lady Antebellum, Joe Nichols, Gord Bamford, Ruthie Collins, Ray Stevens, and more. He’s written a top 5 hit in the US and a #1 in Canada… so far.

Here is my list of 6 resources that helped me become a hit songwriter.  Will merely using these resources guarantee that you end up with a top 5 Alan Jackson single like I did?  No, of course not.  But they were helpful to me, and I hope they’ll be the same for you.  Now, let’s get to the goods.

1. NSAI(www.nashvillesongwriters.com)

NSAI, or Nashville Songwriters Association International, is a great organization with chapters across the world.  I attended Angie Owens’ workshop in Bono, Arkansas, while I was in college.  Not only were the lessons (and occasional pro writer) sent from Nashville educational, it made me feel that Nashville wasn’t so far away.  It made the dream more real.  I also used the Song Evaluation Service, where a published songwriter would listen to the song I sent in and give me their feedback.  It was both encouraging and educational.  NSAI also gave me a place to go on my 1st couple trips to Nashville- their office and their Thursday night workshop.  NSAI has a lot more services now than back when everything was off-line, so I definitely recommend checking them out.  There is also a similar, newer, organization called Global Songwriters Connection.  Check them out at www.globalsongwriters.com.

2. ASCAP (www.ascap.com)

ASCAP is a performing rights organization (PRO).  Basically, they collect airplay money from radio stations, etc. and send it to their writers and publishers.  I joined a few years before moving to Tennessee, and it gave me a place to play songs.  Now, I had to call early and often, but I was usually able to get a sit-down meeting with a writer’s representative, who would listen to my mediocre songs and give me advice.  There are two other PROs in the US- BMI (www.bmi.com) and SESAC (www.sesac.com).  Check each of them out, and get in where you fit in.

3. Songwriting books.

I read whatever I could find on songwriting and music publishing.  Not only did these books give me a lot of techniques and info which helped my writing, I learned a lot about the music biz.  That helped me look like less of a novice on my first trips to Nashville.  Here are some that really helped me out, along with links…

“All You Need To Know About The Music Business” by Donald Passman

“Writing Better Lyrics” by Pat Pattison

“The Songwriter’s Guide To Music Publishing” by Randy Poe

“The Songwriters Idea Book” by Shelia Davis

4. My Local Music Scene

I was living in Little Rock at the time, and there wasn’t much of a songwriting community.  But I connected to what I could find.  My cowriter (pretty much the only one I had at the time) played one of the rare songwriter nights in Little Rock.  (I’m a non-performing lyricist.)  This led to us meeting an aspiring music publisher, who introduced me to my first real live Music Row publisher in Nashville.  He was also the guy who first told me about Erin Enderlin, who would write “Monday Morning Church,” our Alan Jackson hit, with me.

5. An Organized System.

What good is an inspired idea or an unfinished lyric if you lose it in the back of a drawer or under the seat of your car?  I keep a “hook book” full of potential titles and song ideas.  I’ve kept the same list since I started writing songs back in 1994.  I only take titles off it when I write them.  That’s the one place I can go to sift through all my potential ideas.  I also have folders on my computer for “unfinished songs,” “finished songs,” “lyrics ready for cowriting,” etc.  I also have lists of potentials titles such as “beach ideas” and “gospel ideas.”  But everything goes on the master list.  Having an organized system allowed me to easily find “Monday Morning Church” when I was looking for lyrics to present to Erin.  The earliest draft of that lyric was 1 1/2 years old when I showed it to her.  That’s a lot of old notebooks to look through, if I would’ve even remembered to look for it.

6. A Talented, Connected Cowriter.

Songwriting is a team sport.  I was very blessed to be on a team with Erin Enderlin for “Monday Morning Church.”  I lived in Little Rock and really didn’t know anyone in the biz.  Erin, also from Arkansas, was going to college in Middle Tennessee and had been making connections.  And she’s a talented enough writer to take advantage of those connections.  A great idea and her talent and connections gave “Monday Morning Church” a real chance to go from a title in my hook book to a hit on the radio.

So, there you have it.  These are the 6 resources that helped me become a hit songwriter.  Everyone’s journey is unique- so your mix of talents and resources won’t be the same as mine.  But I hope I’ve given you some hope and some things to think about.  And thank you again for checking out Man vs. Row.  I hope it helps you become a more efficient, effective, and successful songwriter.