Power Field Studio

Power Field Studio

quinta-feira, 15 de junho de 2017

SPOTIFY Tem Agora 140 Milhões De Usuários, Acima De 100 Milhões Comparado Com 2016

SPOTIFY NOW HAS 140M ACTIVE USERS, UP FROM 100M A YEAR AGO


Spotify now has more than 140 million active users, but the company is not saying how many of them are paying for a subscription to the music-streaming service.
The company announced the milestone on the eve of advertising conference the Cannes Lions, where it will be courting brands and agencies – and thus where its overall reach will likely be a more important metric than its paying subscribers.
“This is a particularly meaningful development, as our brand partners now have a bigger opportunity than ever to activate Spotify’s free user base,” blogged its VP and global head of ads monetisation Brian Benedik.
“Spotify’s high-velocity audience growth cements our place as the leading media platform for music, fans and brands. As our global monthly active user number continues to climb, more consumers engage with us across their day and devices.”
The 140m milestone comes almost exactly a year after Spotify reached 100 million active users. Its most recent public figure for subscribers came in March 2017, when it passed 50 million subs.
(The company offered similarly-staggered milestones last year, announcing 30 million subscribers in March and then 100 million active users in June for the Lions conference.)
Adding 40 million active users in a year means – and no, we don’t need super-advanced maths for this – that Spotify has been adding an average of just over 3.3 million new users a month over that year.
Unsurprisingly, Benedik’s post focuses mainly on the advertising angle.
“It’s an exciting time for our Spotify global advertising business. We launched our free, ad-supported tier on mobile three years ago, and the business is still growing fast with more than 50% year over year growth in 2016,” he wrote.
“As brands are catching on, I’m really excited about the creative opportunity. Brands can mine new audience insights for inspiration and explore dynamic, innovative messaging. When you pair the emotional power of music, podcasts, and videos with engaging ad formats, the creative terrain is rife with possibility.”
There is also evidence that Spotify may be planning to allow brands to sponsor individual tracks within its service.
Music Ally contacted Spotify to ask about sponsored songs, and the company’s spokesperson provided this response: “We are always testing new ways of putting the right music in front of the right audiences. But we don’t have any more information to share right now.”
We suspect the topic will come up during Spotify’s meetings with brands and agencies in Cannes, however.

segunda-feira, 12 de junho de 2017

WaterTower Music Anuncia A Trilha Sonora De "Mulher Maravilha"

WaterTower Music Announces 'Wonder Woman' Soundtrack


WaterTower Music today announced the release details of the Wonder Woman soundtrack, which features an original score by composer Rupert Gregson-Williamsand the new end title track "To Be Human" by Sia Feat. Labrinth. The soundtrack to this epic action adventure film from director Patty Jenkins will be released both digitally and on CD on the same date that the film is in theatres, June 2.
"Patty and I worked together to find the themes for the movie," Gregson-Williams related. "She has a great ear, and guided me early on to colors she felt had an affinity with the characters."
"Engaging with the emotional language of music is a part of the filmmaking process that I deeply cherish, and its importance cannot be overstated," Jenkins explained. "With Wonder Woman, we had an exceptional undertaking at hand: bringing a legendary character to life with a score befitting one of the greatest Super Heroes of all time, while musically bridging three entirely different worlds. Not a small task for anyone, but not beyond the beauty and elegance of Rupert Gregson-Williams. He embraced the challenge and created an entire world of themes and textures that organically grew with Diana's storyline. He found her voice, her hope and all of her dreams, and brought them to life around her."

On his philosophy of the merging of the music with the storyline, Gregson-Williams expounded: "Wonder Woman is an origin story; we meet Diana before she understands her powers, so her theme needed to reflect her innocence and naiveté. She moves from young girl to a woman who knows her path through the journey of the film.
"I used a hybrid of orchestra and ethnic drums and vocals for the origin story, and as the character grew I introduced electric cello and more electronic colors," continued Gregson-Williams. "By the end of the movie I brought in orchestra, full choir, percussion, and a large palette of electronica."
"I am immensely proud of the score Rupert created and so grateful he was able to bring such integrity and beauty to the movie through his music," Jenkins elaborated. "He is a special and unique talent, whose art sings throughout our film."

7 Maneiras De Ganhar Dinheiro Na Sua Carreira Como Músico

7 WAYS TO MAKE ENOUGH MONEY TO LIVE OFF YOUR MUSIC CAREER


#1  Digital Sales

Selling your songs from itunes , bandcamp , etc is a must. Make every song you put out available for purchase.

#2 Streaming
Streaming payouts are small but one hit song can pay you a nice amount of money. The more songs you have available the more money you can make from streaming.
 #3 Gigs
 This is a no brainier!!!
Play the show -> bring the crowd -> make the money

#4 Merchandise
Of course you want to make T shirts , stickers , pins , etc. but try niche merchandise. If your crowd of fans includes potheads why not make your own lighters or grinders. Think out of the box when it comes to merchandise.


#5 Publishing royalties

SIGN UP WITH A PERFORMANCE ROYALTY ORGANIZATION NOW!! If you don’t have any money please note that BMI is free. Anytime your music is played you will receive royalties.


#6 Licensing

Commercials , Films , etc. need music  and if the budget for the project is good you can receive a nice payout for your song.


#7 Youtube

YouTube ads are a great way to make passive income. Put your music on YouTube and get paid from the views your receive.

O Futuro Da Música No Celular - Dinheiro Ganho

The Future of Mobile Music Revenue


According to this infographic by mobile app creators Mobile Roadie, the future of how artists earn money from mobile is changing. It’s hard to believe, but ringtones and ringback tones (whatever they are?) represent the biggest chunk of global mobile music revenues at the moment. However, in 2013 it’s estimated that full track downloads via mobile will overtake this. Here’s the full infographic.




sexta-feira, 9 de junho de 2017

Merlin Pagou US$353 Milhões Para Os Membros Do Selo, Um Salto De 52%

Merlin Reveals $353 Million in Payments to Label Members, a 52 Percent Jump



Merlin said on Thursday that payouts to its 700 indie label members rose 52 percent to $353 million during the year ended March 2017, up from $232 million in the prior year.
Its overall revenue has grown considerably, compared to back when streaming was still in its infancy, and Merlin's payout to member labels totaled $42 million for the year ending March 2013.
As part of its operation, Merlin polls its label members every year about business conditions; and Merlin CEO Charles Caldas presented the results of that survey today at the A2IM annual conference, held in New York City. Merlin's 700 label members operate in 39 countries and combined have an estimated 12 percent of the global digital recorded music market, according to Merlin.
Merlin is a global rights licensing and collection agency that collectively represents indie labels in negotiating deals with digital services that allows the service to offer the recorded masters of the Merlin labels to their subscribers. In turn, the services pay Merlin royalties, which funnels the money back to the labels, based on pro-rata plays.
For the year ended May 2017, most labels reported that their business had grown from 2016's levels, with only 14 percent of labels saying their overall business revenue decreased from year-end 2016. Merlin tracks June to May for its survey.
Looking at the business another way, 42 percent of labels said that over half their digital revenues originated from outside their home territory. That's up from 39 percent in 2016.
Overall, 67 percent of labels say that all digital revenue -- whether from downloads or streaming -- now accounts for over half of their overall business, which includes physical sales too.
Looking at the digital channel only, in 2015, only one-third reported that their audio streaming subscription business was over 50 percent of their digital revenue. In 2017, that doubled to 64 percent of labels claiming streaming as accounting for over 50 percent of their business. In 2016, half the labels had reached the point where streaming accounted for over 50 percent of digital revenue.
Moreover, 29 percent of labels reported that audio streaming accounted for over 75 percent of their digital revenue.
Meanwhile, video-based streaming services are not producing the same kind of growth and appear to have stalled, even though use of video appears to be growing. About 84 percent of Merlin members say that video streaming accounts for less than a quarter of their overall digital business, the same level as last year. Within that, 42 percent, or half of the labels that comprise the 84 percent just mentioned, say that video-based services account for less than 5 percent of their digital revenues.
Meanwhile, 19 percent of members responded that downloads still account for over 50 percent of their digital revenue, while 39 percent of member labels say that downloads now account for less than 25 percent of digital revenue.
Looking at the future, 83 percent of members say they were optimistic about the future of their business, while only 6 percent were not optimistic.

Como 'Stranger Things' Ajudou Uma Nova Categoria No EMMY Para 'Music Supervisors'

How 'Stranger Things' Helped Prompt a New Emmy Category For Music Supervisors



As TV soundtracks top the charts, the Primetime Emmys are finally embracing music supervisors 

For the first time in the Emmy Awards' nearly 70-year history, music supervisors will be recognized for the artistic role they play in crafting the tone of TV programs.
Outstanding music supervision is one of 10 new or amended categories added to the 69th Primetime Emmys, which will air Sept. 17 on CBS. The award will go to a single episode of a series, TV movie or special, and it honors creative contributions through music, including original or pre-existing songs, scores and performances. Voting for all 119 categories begins June 12.
Two years ago, the Emmys admitted music supervisors into the Television Academy as full members for the first time. The Guild of Music Supervisors (GMS) lobbied for both that and the new award, to challenge the notion that they serve primarily as rights-clearing administrators, says music peer group executive committee member Tracy McKnight.
The award comes at a time when TV music is resonating strongly with viewers. Since 2015, 12 TV-show soundtracks have landed in the top 30 of the Billboard 200, including two No. 1s: Empire: Original Soundtrack From Season 1in March 2015 and Disney's Descendants in August 2015. And the theme from the hit 2016 Netflix series Stranger Things, written by Kyle Dixon and Michael Steinof the band SURVIVE, has tallied more than 3.4 million on-demand audio streams, according to Nielsen Music.
Late last year, several top music supervisors, including McKnight and GMS president John Houlihan, made their case for the award before the Emmys' board of governors, arguing that a supervisor's role was as valuable as Emmy-eligible craftspeople in wardrobe, casting, hair and makeup. "It was nerve-racking, because we knew that there was a culture in the academy to limit the number of Emmy categories, and most requests are shot down," says Houlihan.
For now, supervisors are not eligible to vote for the five other music categories, says musical director/producer Rickey Minor, who is one of the music peer group's two governors. "Until we are all educated on how it works, it makes sense to go slow," he says. "Just because you're a composer or director, that doesn't mean you understand the job of a supervisor."
For the GMS, which honors its own in a February awards show, this is a first step in broader recognition for the role supervisors play. Next up is persuading the Motion Picture Academy, which puts on the Oscars, to invite music supervisors to join the music branch as full members. “Our conversations are in early stages,” Houlihan says. “We are looking for a new era of consideration, but we're not antagonistically gunning for film academy membership. We come in peace.”
7 Supervisors To Watch
1. Season Kent, 13 Reasons Why
The use of emotional, melancholic music in the Netflix drama about a high school student’s suicide has drawn comparisons to John Hughes' coming-of-age films.
2/3. Jen Ross and David Jordan, Empire
Though ratings for the show have fallen, Fox’s drama about a rap label remains a creative leader for the music-immersive show’s use of both licensed source cues and strong original music performed by the main characters.
4/5. Zach Cowie and Kerri Drootin, Master of None
Aziz Ansari’s Netflix comedy about his search for love isn’t afraid to go for obscure tunes, even including music from Burundi.
6. Liza Richardson, The Leftovers
Bold, bizarre, beautiful and bitter, the choices on HBO's critically-acclaimed existential drama accent the show's far-reaching plots and accent its twists.
7. Nora Felder, Stranger Things
The Netflix sci-fi horror thriller, set in the early ‘80s, is noteworthy for its eerie score and smart covers, such as Peter Gabriel’s haunting rendition of David Bowie’s “Heroes.”

Angel Olsen, Radiohead, Jagjaguwar Estão Entre Os Vencedores Do Sixth Annual Libera Awards

Angel Olsen, Radiohead, Jagjaguwar Among Winners at Sixth Annual Libera Awards



The independent music business last night celebrated, fed and feted its own at the sixth annual Libera Awards, an event organized by the American Association of the Independent Music recognizing achievement in the independent music community. The event capped off the trade organization’s 12th annual Indie Week (June  5-8) which saw a broad swath of the independent music industry descend upon the Clemente Soto Vélez Cultural and Educational Center on NYC’s Lower East Side for four days of meetings, panels, discussions, keynotes, performances, shmoozing and more.
This year’s big winners included Angel Olsen whose album My Woman(Jagjaguar) took Album of the Year honors; Radiohead (XL Recordings) who won two Libera statuettes for Best Live Act and Video of the Year (Fan Vote) for “Daydreaming;” and the Jagjaguar which won Label of the Year (More Than Five Employees).
Other winners included Bandcamp, a digital platform spotlighting primarily indie music and which won the Independent Champion Award,;Triple Crown Records which received best label with less than five employee, and the beloved and late-Sharon Jones (Daptone Records) who won Best Syc Usage for a Lincoln MKZ spot (full winners list below).
"Holy Shit," were the first words out of Triple Crown Records' president/founder Fred Feldman's mouth upon winning. "I was shocked" he told Billboard. "I really didn't think we'd win." The label's recent releases include Sorority Noise (a number one the Billboard Heat Seekers Chart), Caspian, Boxing and Tiny Moving Parts. Feldman attributed the win to his label's success to "consistently over the course of 20 years in the music business, luck and serving our audience really well and being really true to what we do." 
Ani DiFranco, who started her own independent label, Righteous Babe Records, at the tender age of 18 and has recorded some 21 studio albums over the course of her career, won A2IM’s Lifetime Achievement Award. “If you started an indie label, we have something in common,” DiFranco said in her acceptance speech. “You’re the kind of person who gets an idea in your head and you don’t let it go. If your label still exists, your tenacity is bona fide,” she said alluding the may difficulties indie labels face today with the rise of free music and a vastly changing landscape.   
DiFranco sang two songs including her classic “32 Flavors” from her album Not a Pretty Girl with musician Dar Williams, who introduced the icon and sang exquisite back-up harmony. “A Network,” DiFranco said, "is so much stronger than an individual."
Veteran British musician, “pub rocker” and producer Nick Lowe won the Independent Icon Award presented by Michael Huppe of SoundExchnage, the digital performance rights organization and one of A2IM Indie Week's title sponsors. Huppe noted that Lowe had released 14 albums, 23 singles, six compilations, three EPs and one live recording in addition to running seminal punk indie Stiff Records as well as producing the Damned's first album and eight Elvis Costello albums among others.
Lowe  was exceedingly modest describing himself as just “another aging gent from across the sea” who  “along the way managed to make one or two good records and hundreds of terrible records that no one remembers—which is why I’m  here today.”  His short set of course included his smash “Cruel To Be Kind” which seemed to enliven the relatively well-heeled audience.
While the night also included performances by Twin PeaksNick Hakim and Talib Kweli, the ceremony ran like clockwork with master of ceremonies and indie artist Ted Leo keeping the night train moving on time. Leo himself said he is in the process of releasing his own album and is just starting to realize that I“it’s a ton of f**king work. Something not lost on this crowd.
Partially under new A2IM CEO Richard Burgess’ direction, who began last year, A2IM’s membership has doubled in size over the last two years and the Libera Awards itself have had a similar trajectory. This year’s ceremony at the PlayStation Theater in Times Square nearly doubled the number of attendees at last year's ceremony  “It gets bigger and better every year,” noted board member and the evening's award presenter Portia Sabin of the Kill Rock Stars label.
The not-for-profit trade organization;s membership includes more than 450 Independently-owned American music labels whose interests A2IM advocates for in the market, the media and on Capitol Hill and beyond.
In 2016, Billboard put the Independent music label sector as 35.1 percent of the music industry's U.S. recorded music sales market in 2016 based on copyright ownership, according to Nielsen Soundscan data.
A2IM’s  board of directors consists of the following: ATO Vice President Stephanie Alexa, Razor & Tie COO Craig Balsam, Redeye Co-Owner Glenn Dicker, INgrooves EVP & General Manager Amy Dietz, Epitaph/Anti General Manager Dave Hansen, Big Machine COO Andrew Kautz, Beggars Group Founder/CEO Martin Mills, Hopeless Records Owner Louis Posen, Dualtone CEO/Co-Founder Scott Robinson, Tommy Boy Owner & CEO Thomas Silverman, and Secretly Label Group Co-Owner Darius Van Arman. A2IM’s Advisory Committee includes: Randy Chin, Alisa Coleman Amit Nerurkar