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?

6 Serviços De Assinatura De Vinil Para Os Amantes De Música

6 Vinyl Subscription Services Perfect For The Music Lover In Your Life

First of all thanks to  Hugh McIntyre  for this article.

As vinyl has grown in popularity, new businesses have found a way to make money off of the medium’s resurgence. One of the most popular new types of startups that seem to be popping up left and right are vinyl subscription services, which serve paying customers with new music on a monthly basis, with in-house curators often choosing what tunes and releases are highlighted and shipped around the world. There are well over a dozen of these companies operating now, and there are sure to be more in the coming years as vinyl continues its upward surge

For those that have never investigated this growing field, or who may be looking for a perfect holiday gift for the vinyl devotee in their lives, here are a handful of subscription services that stand out from the rest, and which are perfecting the art, and the business, of getting the world to listen to more records.

Feedbands

Price: $4 per month for digital-only, $254 per year for everything

The two parts of the music industry that are growing these days are online streaming and vinyl sales, and Feedbands has found an interesting way to combine both into a unique business model. The company highlights one new song by an unsigned artist every day on its website, and those tuning in can vote the song up if they like it, similar to what happens on Pandora. Unlike the internet radio service, once all the votes are tabulated, the company presses the top artist every month to vinyl, and that is served to subscribers before it’s sold anywhere else. When the package arrives, it comes with lyrics, a beautifully-designed product, and even a card with a download of the album, so as to keep the bridge between physical and digital intact.

Flying Vinyl

Price: £20 per month

U.K.-based startup Flying Vinyl is focused on breaking new artists with singles only, opting not to bother with full-length releases. Those behind the venture are smart to do so too, as it typically only takes a few songs for most people to decide if they like the band they’re listening to or not. Every month, the company sends out at least five 7-inch records, each with two songs from a different new musical act. This is a fantastic option for someone looking to sample as many new artists as possible using vinyl, as a true music lover could learn about dozens of up-and-comers in a year, all while supporting them as well.

Trax & Wax

Price: starts at £22 per month

One of the few dance music-focused vinyl subscription services available, Trax & Wax is perfect for not just the vinyl aficionado, but someone who truly loves dance music, even if it’s only one or two styles. When signing up for this option, a new customer is given the opportunity to decide what box full of electronic dance music they’d like to receive, such as Disco, Old School, Techno, Nu School, or the brand’s own blend of everything. The monthly deliveries are also some of the fullest offered, as there is an option to receive up to four 12-inch records every month. 

Vinyl Me, Please

Price: $23 per month (when you sign up for a year) and up

Vinyl Me, Please isn’t like other vinyl subscription services that simply choose the best LP they believe you should hear. Instead, it comes off more as a company that re-releases some beloved titles as collector’s editions—ones that are only available from this one source. While plenty of these kinds of startups sift through hundreds of acts to find the next best thing nobody has heard yet, Vinyl Me, Please focuses on some of the biggest names in the indie world. Past monthly selections have included the likes of Glass Animals, Beck, Weezer, and Nils Frahm. Every choice comes with a specially-made vinyl, unique piece of art that accompanies the music, and a cocktail recipe that fits with the tunes. This is already one of the most popular vinyl subscriptions available, and there’s a reason for that.

VNYL

Price: starts at $22 per month for one record

Another one of the companies that has risen to the top of the growing field of vinyl subscription services, VNYL is clearly aimed at a younger audience, which makes sense, since millennials are one of the few groups pushing the medium upwards these days. One of the first steps of letting the curators at VNYL know what you’re into is connecting to your profiles on services such as Spotify, Soundcloud and Instagram, which again suggests a youthful aim. While some companies want users to choose categories such as dance, rock, or hip-hop, this one has verticals such as #DREAMPOP, #SOULMATES and #NOVEMBRRR, and if you have no idea what might come in one of those packages, this option probably isn’t the best for you.

Vinyl Moon

Price: around $30 per month 

On the company’s website, it calls itself “The Mixtape Vinyl Club,” and that’s a perfect description. Instead of offering full albums from artists, whether old or new, Vinyl Moon creates a one-of-a-kind mixtape every single month, which features at least 10 tracks from some of the coolest, most talented up-and-coming acts in music. Each and every month’s compilation is a different color, comes with a specially-designed artsy cover, and for the most VIP of members, there is even a party to celebrate the release of the album in varying cities.

Como Formar Um Time Profissional De Música

How To Build A Professional Music Team

So you’ve recorded a cd, played some pretty big shows, and are making some noise in your local scene…now what? Do you know how to take your career to the next level? After a certain point, bands need to start looking at putting together a team to help them get further in the industry. This is where the Artist Professional Team comes in. This is your elite team of industry insiders that are diligently working to get your music and your band out to the public…or at least that’s what they should be doing. It’s important to know the role of each member of your professional team so that you can hire the best person for the job. 

Personal Manager

Probably the most important person working for your band, the personal manager is essentially the quarterback of your band. They’re responsible for coordinating all efforts between the band and your record label, radio promoter, publicist, publisher, booking agent, and business manager and all othermusic contacts. Your personal manager should be the first member of your team that you choose, and can then help you assemble the rest of your team. The manager will also usually make some business decisions for the band, assist in the creative process, as well as working with your record label. Personal Managers usually take about 15-20% of a band’s gross income.

Business Manager

You may not be able to afford a business manager at first, but the more money you start making, the more likely it is that you’re going to need a business manager. The business manager usually collects royalty checks for the artists, takes care of their bills, and makes sure to properly handle all taxes and investments on behalf of the artist. Business managers are usually CPAs and can either take 5% of the artist’s gross income, or work for an hourly rate or flat fee.

Attorney

Probably the most powerful member of your music contacts will be your attorney. The attorney deals on your behalf with all the major power brokers you encounter during the course of your career. Your attorney should be heavily involved in negotiations whenever you sign contracts with publishers, labels, managers, and agent. Many of the most prominent entertainment attorneys are based in New York and Los Angeles, but others have been spreading to cities such as Nashville, Atlanta, Chicago, and Philadelphia. Attorneys can either take 5% of any deals they negotiate, or can work for an hourly rate or flat fee.

Booking Agent

Having the right booking agent can make the difference between playing a good show and playing a great show. Agents are responsible for scheduling live performances for artists for either individual dates, or regional and national tours. You want to find a talented agent that has established relationships with many of the big name venues all throughout the country. Booking agents can sometimes be the most difficult member of your team to secure because you often need to convince them that you are worth their time and effort. Agents usually take 10% of the artist gross for live performances, not including merchandise.

Publicist

The publicist’s job is to obtain media coverage for clients in print, tv, and electronic media. Their responsibilities usually include securing media coverage, mailing/emailing press kits to music writers, communicating with the manager/agent/record label, and hiring hair and makeup teams for tv and magazine shoots. Publicists can get paid anywhere from $1500-$5000 per month and usually begin work several months before major releases and announcements.

Site De Música Pirata "What.cd" Foi Fechado

Music piracy site What.cd has been shut down

Music piracy site What.cd has shut down, it announced on its Twitter account on November 17.

What.cd was an invite-only piracy site that offered a catalogue of music for free.

Reddit user NateHevens described it as "the Library of Alexandria for music. Between the list of music and formats, to the collages, the top tens, the community interaction ... What.CD was the pinnacle of music collection."

A Twitter account belonging to What.cd said on November 17 that the torrent site would shut down "due to some recent events". Ars Technica reports that people had been talking aboutWhat.cd being offline since November 16.

The Twitter account also claimed that "all site and user data has been destroyed". That was likely a deliberate act to attempt to keep users anonymous.

It's not clear exactly why What.cd shut down. French technology news site Zataz reported on November 17 that French police seized servers belonging to the torrent site, and that's what caused the site to go offline.

But a What.cd administrator told Ars Technica that the decision to shut the site down came from the people who maintain it, not the police. The unnamed administrator didn't rule out a police raid, though, and suggested that it is probably true.

Mudança De Executivos: Novas Contratações Na Sony, The Fader, CD Baby e Mais

Executive Turntable: New Hires at Sony Music Entertainment, The Fader, CD Baby & More

-- Andre Stapleton has been named Senior Vice President, Digital Partner Development, Sony Music Entertainment.

-- The FADER has appointed Shon Mogharabi to the newly created role of Strategy Director. 

-- APA’s Contemporary music department in New York has hired Steve Fergusonas its Vice President. His client roster has previously included The Jesus & Mary Chain, Siuxsie & the Banshees, The Dandny Warhols, The Kooks, and more. 

-- Cooking Vinyl has promoted both Rob Collins and Chris Farrow. Collins will move up from General Manager to Managing Director of Cooking Vinyl Ltd., while Chris Farrow will move up from Marketing Manager to Head of UK Marketing and Product Management. 

-- CD Baby, an independent distributor and artist services company, has hired Jon Bahr as Vice President of Music Publishing and Rights Management. Bahr has spent his past 13 years with ASCAP, where his most recent position was Senior Director of Marketing & Communication.

-- Spotify has lost one of its top science guys. Brian Whitman, a co-founder and CTO of music data wizards the Echo Nest, which the Swedish streaming service purchased in 2014, announced on his blog that he left the company earlier this month.

As Características Comuns Em Um "HIT"

The Common Characteristics Of A Hit Song

First of all, thanks to my Friend Bobby Owsinski

As we’re all too aware, crafting a hit song isn’t easy. Most people in the music business struggle their whole careers to be a part of just one, while others do the same to get a taste of that magic once again. While there isn’t an exact formula for a hit, there are a number of common elements between them that you’ll find that may help you in creating one. Here’s an excerpt from my Deconstructed Hits series that will hopefully shed some light on the subject.

“After looking at hundreds of hit songs, there is definitely a list of similar characteristics that you’ll find in a hit song on the charts today:

• Most hits are short. Songs today average 3:47 in length, which is a lot longer than it used to be, but still an easily digestible bite.

• Most hits have a short intro. The average intro of today’s hit is about 7 1/2 seconds, but it’s always been about getting to the point and that never seems to change.

• Most hits limit the number of arrangement elements that occur at the same time. Most have only three or four, and rarely even five arrangement elements that play simultaneously, but no more.

• The arrangement of most hits develops over the course of the song. Usually it reaches a peak at either the bridge or the last chorus.

• Most hits use the arrangement to keep your interest. There’s always a new element entering or exiting to hold your attention.

• Most hits have either a bridge or arrange a repeating song section to act like a bridge. The latter is an arrangement trick to keep the interest high and the song flowing.

• Virtually all hits are dynamic, with a lot of tension and release, which means a hit changes in intensity. This is usually accomplished through the addition or subtraction of instrument or vocal tracks, but can also occur because of good old-fashioned dynamic playing if real musicians are used.

• There are exceptions to all of these rules. It is rare to find a song that follows these traits exactly. Often what makes a song a hit in the first place is the ability to twist one of these traits into something new.

As you listen to songs in the future, begin to listen to the similarities in song form, arrangement and production, which can be a great help if you’re a songwriter, arranger or producer. The more you know about how a hit song is made, the more likely you’ll actually create one.

Keep in mind that even though you may not like a song or an artist, it is still worth a listen. Hits are hits for a reason, and they are definitely hard to come by. Each has some sort of magic––as well as some common elements––so something can be learned from every single one.”