O Feudo Do Youtube Na Música Parte 1: Porque 3 Bilhões Para Os Detentores De Direitos Significam Nada

The YouTube-Music Feud, Part 1: Why '$3 Billion To Rights Holders' Means Nothing

AUSTIN, TX – MARCH 17: A view of the stage at YouTube At Coppertank during the 2016 SXSW Music, Film + Interactive Festival on March 17, 2016 in Austin, Texas. (Photo by Neilson Barnard/Getty Images for SXSW)

This is part one of a series that discusses missing narratives from the music industry’s fight against YouTube. The posts are meant to be objective–siding neither with YouTube nor with artists, but rather highlighting and unpacking important data points that both sides of the debate are leaving out.

Today marks the one-month anniversary of over 180 musicians signing an open letter to Congress, protesting Section 512 of the Digital Millennium Copyright Act (DMCA). According to the letter, Section 512 directly diminishes songwriters’ and artists’ earnings by allowing “major tech companies to grow and generate huge profits by creating ease of use for consumers to carry almost every recorded song in history in their pocket via a smartphone.” While not mentioned by name, YouTube is the dominant scapegoat in this complaint.

Today also marks the ten-day anniversary of Google GOOGL -0.02%’s response to these complaints, in the form of an update to “How Google Fights Piracy.” The 62-page report highlights how Google has actually enabled creators to build more sustainable careers, from using SEO techniques to hide piracy websites to helping artists gain insight into their ever more distributed audiences.

Both stances remain impassioned, yet unconvincing. The music industry’s larger argument of “pay us more” is vastly oversimplified, and has prompted a similarly oversimplified response from Google.

For instance, YouTube often cites how it has paid out over $3 billion to music rights holders to date, 50% of which has been monetized through ad placement with Content ID (a proprietary technology that identifies copyrighted work in user-generated content). Both of these statistics are weak because they give no clarity to how that money is distributed, nor to whether that distribution is fair—questions that should stand at the center of discussions around YouTube’s utility to the music industry.

Yes, the larger music value chain is partly to blame for why artists receive pennies for their YouTube streams. Unlike with native YouTube creators like Pewdiepie or Michelle Phan, a vast and complex ecosystem of labels, publishers, songwriters and other stakeholders often engulfs a musician’s work, leading to a similarly fragmented split of revenues.

However, YouTube’s Content ID seems inherently biased toward celebrities and against independent and emerging artists. Only around 8,000 rights holders currently have access to the technology, a portion of whom work in the music industry; this leaves hundreds of thousands of musicians unable to monetize their work. While qualifying for Content ID sounds simple—based on an “evaluation of each applicant’s actual need for the tools”—the service seems to have been reserved for a lucky and unrepresentative few, many of whom are probably associated with major labels.

Furthermore, contrary to the minimum rates that audio streaming services like Spotify are required to pay, Content ID’s value fluctuates over time in tandem with the value of the host channel, the health of the larger global ad market and other factors. YouTube is a fundamentally ad-driven business that interprets play count as a proxy for value, so the cost of ad inventory decreases for most user-generated videos. Unfortunately, these videos account for a small percentage of YouTube consumption: according to MIDiA Research’s recent report “The State of the YouTube Music Economy,” 91% of music video views are concentrated on the first page of results, usually dominated by verified channels like Vevo.

These fluctuations and winner-take-all dynamics give much-needed context to Google’s claims that the music industry chooses to monetize 95% of videos identified with Content ID, and that accuracy rates are as high as 99.7% (which in itself has been disputed, as the IFPI recently claimed that Content ID fails to identify as much as 20-40% of songs on YouTube). Regardless of what the correct numbers are, Content ID is only as valuable as the videos it identifies, and the technology is still unavailable to an alarming number of musicians.

Monetizing user uploads is a costly endeavor—Google has invested over $60 million in Content ID—and the $3 billion figure at least suggests that the technology is working. However, a gap still prevails in which most independent creators cannot monetize their content on YouTube. An artist’s ability to send a DMCA takedown notice seems more and more dependent on relationships with corporate third parties; ironically, the fact that only Taylor Swift-level stars are speaking out in this debate further silences the independent sector. Both Google and the music industry need to look beyond public spectacle, realize who is missing from the discussion, and take them into account when building a sustainable strategy for distributing their resources.

Componha Novos Ritmos Com Uma Caixa De Música - Vídeo

Compose new beats with a rotating music box

Electronic music artists are always exploring new ways of creating their music. The XOXX composer is the product of Royal Academy of the Arts student Axel Blume's experimentation. The device has eight spinning magnetic discs, that create a beat based on the placement of attached magnets. You have to hear it to believe it.

O Que os Artistas fazem De Errado no YouTube

Where Music Artists Go Wrong On YouTube

First of all thanks to my friend Bobby Owsinski 

YouTube is capable of making people stars, and while that happens to exceptional content creators, most of them are not music artists. One of the reasons that artists don’t fall into the YouTube star category is that their general mindset is still set in the past. Here are the 4 places were artists go wrong on YouTube, which leads to far less success on the platform than they’re capable of.

• It’s not about the views. YouTube is actually not optimized for total views, contrary to popular belief. It’s all about watch time and channel subscriptions, according to industry analyst Mark Mulligan. Most artists get most concerned about views, which takes their focus away from what really counts.

• Major YouTube stars constantly drip content. They’re constantly posting on a schedule that their subscribers know and trust. Music artists, on the other hand, post an average of 3 videos every 18 months. The big problem is that even if these videos rack up some big numbers, the advertising revenue is lower because there’s not much inventory on the channel so the income is far lower than possible.

• Releases are too far apart. Most artists are still on an album cycle, where they work on an album for months or years and only release singles (and therefore videos) when that album is complete. The world that we live in today has moved way past that. In order to keep an audience, constant engagement is essential and that means the release of more content in a more timely fashion, just like the native YouTube stars.

• The video doesn’t have to be slick. If there’s one thing that we know from watching YouTube stars with huge followings is that production quality isn’t anything to get hung up on. A quick backstage video on an iPhone or impromptu acoustic jam can be far more effective than that big expensive music video. Like anything else, it still has to be entertaining, but with a little thought, a cheap video can still be very effective.

Artists and bands have a love/hate relationship with YouTube but the fact of the matter is that it’s still one of the most effective ways of getting your music out to both fans and non-fans alike, and growing an audience. That said, the techniques that worked in the past are no longer valid. Luckily, there are some very good models to look at for guidance, but few of them are from the music business.

Violões MARTIN Lança Um Documentário De 40 Minutos Para Celebrar Os Seus 100 Anos.

Martin Guitar Tries Long-Form Branded Content With 40-Minute Documentary

Many companies now consider themselves “publishers,” increasingly investing in branded video content to push out online through their websites and social media accounts for marketing purposes.

It’s rare that such creations receive significant artistic recognition—let alone be selected for a major film festival.

Guitar manufacturer C.F. Martin & Co. released a 40-minute documentary short in May, titled “Ballad of the Dreadnought,” in recognition of the 100th anniversary of its influential “dreadnought” guitar shape.

The film, which was created with advertising agency Lehigh Mining & Navigation, has received Official Selections at six film festivals including the Newport Beach Film Festival, Canada International Film Festival, New Hope Film Festival, SouthSide Film Festival and the Annual WorldFest-Houston International Film Festival. 

“I saw this as an opportunity to educate people who may know a little bit of the story behind the guitar shape,” said Martin’s chief executive, Chris Martin IV.

The film features interviews with well-known guitar players including David Crosby, Steve Miller and Stephen Stills.

All of the interviews with the musicians and Martin guitar enthusiasts were provided at no cost, Mr. Martin said, which he described as a “huge honor.” The documentary was even narrated by actor and Martin enthusiast Jeff Daniels in exchange for two Martin guitars.

“The cost was in the production, not in the content,” Mr. Martin said.

It’s relatively rare for companies to invest in “long-form” branded content of this nature. Marketers typically favor shorter clips, which they hope might capture a few moments of users’ attention as they scroll through their Facebook or Twitter feeds.

For “Ballad of the Dreadnought,” Martin had initially set out to create a relatively simple 5-minute video. But as it began collecting video interviews and archival footage for that project, it decided to be more ambitious.

“It was a little idea that started as something else, and turned into a bigger project that really exceeded all of our expectations,” said Amani Duncan, Martin’s vice president of brand marketing.

“We’re really proud of the outcome. It’s both a marketing tool and about the legacy,” Ms. Duncan said, adding that the film is intended to appeal to existing Martin guitar owners, potential guitar owners and general guitar enthusiasts alike.

Since being published on the Martin Guitar website, “Ballad of the Dreadnought” has received over 30,000 views and has also been screened at various events across the country, often in partnership with Martin’s retail and distribution partners.

Although the film was conceived as a piece of marketing, it was also seen as a way to preserve the company’s heritage. 

“Because of the importance of keeping our history alive, we’re able to do these types of initiatives that are a little more brand-centric, and don’t necessarily have hard return-on-investment associated with them,” Ms. Duncan said.

According to Joe Iacovella, director of account services at Lehigh Mining & Navigation, the documentary approach might be a better way to reach potential customers than more traditional forms of advertising anyway.

“We could easily have put together a few ads that said ‘Hey! The Dreadnought is 100 years old.’ But this way we’re telling the story to existing enthusiasts and emerging audiences as well. Those guys aren’t necessarily engaging with brands the way they used to,” Mr. Iacovella said.

One limitation of the film, however, is that it can’t currently be posted to social networks and video platforms such as Facebook and Google, due to licensing limitations with some of the video footage it includes.

“If it takes off and really appeals to people, perhaps we’ll look at broader distribution,” Ms. Duncan said, who floated the possibility of licensing it to TV networks or online streaming services. “Licensing this would be beyond our expectations,” she said.

Indústria Da Música - Nova Rodada!

Music Industry News Roundup 

First of all thanks to my friend Bobby Owsinski

Here’s some interesting music business news from the last week. There’s a lot going on in the streaming world, but as usual, that’s not all.

Warner Music had it’s best quarter in a long time. Streaming agrees with this major label, and it’s up around 14% over the same time last year. Guest what? It’s all due to streaming.

“Happy Birthday” is copyright free, but what about “We Shall Overcome” and “This Land Is Your Land?” Both are considered national treasures and thought to be in the public domain, but are instead controlled by the daughter of Woody Guthrie. New lawsuits attempt to change that, but what does it mean for copyright law?

Many superstars are going it alone without a manager. Taylor Swift, Bruno Mars, Beyonce and Ariana Grande are using a close tight nit team to guide their careers instead of traditional management companies. Prince was notorious for doing the same thing, and Mick Jagger has essentially guided the Rolling Stones since early in their career. Works for some, not so much for others as Queen and Billy Joel had a rough time after trying the strategy.

Drake’s Views chart dominance is mainly due to streaming. It seems that sales aren’t what they used to be, but I’ve been making that point for a long time.

Spotify is trying to program ads based on your musical tastes. The company is now asking advertisers to submit ads that fit specific profiles to better target listeners on its free ad-supported tier. Creepy or smart?

Song pluggers now target playlists. Song “pluggers” or promoters used to target just radio in order to raise the profile of a song and make it a hit, now they target various playlists instead.

Apple has fixed a big problem with Apple Music. It has moved to fingerprinting technology to help better match your personal music collection to its online catalog. User have been frustrated with inaccurate matches, but this promises to kill the bug.

Downloads will be dead by 2020. That’s what this article predicts as it looks at the downward spiral down of downloadable music consumption. Not analysts believe it will happen this quickly, by the way.

Has streaming broken the UK singles charts? A better question might be, what dos the singles chart now measure, because it certainly isn’t sales.

That’s the News Roundup of what went on in the music industry last week. Let’s see what next week brings.

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Talvez Youtube Não Seja O "Bicho Papão" Da Música Apesar De Tudo

Maybe YouTube Isn’t Music’s Boogie Man After All

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

Artists, bands and record labels have issued an all-out assault on YouTube this year over a variety of issues that mostly stem from what they consider to be low royalty payouts. The problem is, while it’s likely that many of the presumptions leading to the attacks have a basis in reality, their conclusions may be premature.

In the music industry’s eyes, YouTube is a devil that it’s forced to deal with. The service is widely used to market it’s product while throwing off enough revenue that it can’t be easily dismissed, yet YouTube is in a position of strength where the labels can’t easily use their licensing leverage to get their way as they could with other streaming service negotiations in the past. What seems to be true is that content owners are receiving a lower royalty rate for every video view than ever before. In fact, industry analyst Mark Mulligan reports that the per view rate was actually cut in half from 2014 to 2015, and is now down to around $0.001. That said, YouTube continues to pay the industry more money than ever, with almost $2 billion in payments since 2014.

While that may be true, the fact of the matter is that YouTube isn’t nearly as powerful as it once was, and indications are that its popularity for music delivery is waning. According to a recent BuzzAngle report that looked at music consumption from the beginning of the year, for the first time streaming actually outpaced music video views, with the number of streams at 114 billion and video views at around 97 billion.

What’s more, according to the GlobalWebIndex study, young people between 16 to 24 (the traditional driver for video views) are more willing to pay for streaming than older adults, despite indications that only 1 in 10 digital consumers end up paying for streaming music overall. This figure for younger Americans could actually be higher though, since pre-teens and teens don’t usually have credit cards. Many ask their parents to pay for the subscription or are part of a parent’s family streaming plan, so the complete picture here is still a question mark. When you take that into consideration, there may be more young people in that subscriber category than you might think.

Google has certainly taken notice to these numbers and is attempting to increase it’s own music subscriptions by running a sale. First of all, a free 2 month trial period for Google Play is now available that includes its YouTube Red service as well, and Red alone is being offered for just $0.99 for the first three months through the YouTube app. A company running aggressive sales campaigns is reacting to the market, and Google sees the writing on the wall. YouTube is falling out of favor with the demographic that, at least up until now, consumes it the most.

As Melhores Trilhas Sonoras De Filmes De Ficção Científica! Você Concorda?

Best Sci-Fi Movie Soundtracks - Do You Agree? 

Music sets the atmosphere, enhances the drama of events, and highlights character traits in the best sci-fi movie soundtracks.

While music in cinema is new in comparison to the age-old practice of music composition, the process of composing movie soundtracks isn't much different than any other composition project. The clear predecessor of music as a soundtrack to acting is opera, with its fusion of the arts of music and acting. While the methods of transmitting visual information have changed since opera ruled the acting world (the set made of cardboard has become one of digital backdrops and green screens), and sound effects were added (synthesizers, samplers, and various ethnic instruments), there isn’t much difference, in regards to musical needs. The goal of a sci-fi movie soundtrack the same as the music behind an opera: set the atmosphere, enhance the drama of what’s happening on stage, and highlight the specific features of the characters.

The composers of the best sci-fi movie soundtracks have each solved for these aspects in their own way. Someone like Jerry Goldsmith focuses on the general atmosphere of his score, and John Williams gives each character a distinctive theme, but one thing is for sure: all of these sci-fi movie soundtracks have deservedly taken their place among the best.

Interstellar

  

When asking Hans Zimmer to write the soundtrack for Interstellar, Christopher Nolan didn't tell him it was going to be a space movie. He told him it was a story of a relationship between a father and a daughter. It's a very intimate story and at times the space travel here is actually as much of a background to this relationship as it is the main theme of the movie. Due to the fact that it's a look into the past and future at the same time, Zimmer chose to combine both electronic instruments and antique ones, such as a 14th century organ.

Tron: Legacy

The soundtrack for Tron: Legacy was created by Daft Punk. Relying mainly on music from the original Tron, the musicians nevertheless created something new: a fusion of electronic and symphonic music, very unusual even for Daft Punk. The computer atmosphere of the soundtrack set the parameters for creating the music, using such exotic elements as granular synthesis and glitch. Skillfully combining the sound of the orchestra with electronic sounds and effects, Daft Punk create their own world. As a result, the soundtrack is clear, almost mathematically verified, and very accurately conveys the technological atmosphere of the film.

Blade Runner

In Blade Runner's soundtrack, Vangelis uses a whole range of styles like synti, new age, and minimalism, skillfully combining these musical directions that can sometimes seem contradictory. Before the filming started, Vangelis already knew the basic idea behind the film, and was able to create a score based off clear concepts. The use of synthesizers brings a desired flavor of the future era into the atmosphere of the film, and lingering melodic compositions with the elements of ethno are a distinct feature of new age. Finally, the repeating elements are a tribute to minimalism, which at the time was becoming more and more popular among academic composers. The result is a unique combination and a feeling of total immersion in the story.

Star Wars Trilogy

The Star Wars soundtrack is perhaps the most famous sci-fi movie soundtrack in existence: John Williams created something truly extraordinary. Treating the film as a giant opera (parallels have been drawn to The Ring of the Nibelung), he carefully worked out the images of the characters. In Star Wars, as in opera, music is one of the main carriers of action, participating in everything happening on screen. Each character has its own theme, which sometimes manifests itself in combination with other character themes. Created according to the classical models of music, this soundtrack may rightly be called "the first space opera."

Mad Max: Fury Road

Tom Holkenborg fully encompasses the expressive means of both a contemporary classical composer and a DJ in the soundtrack to Mad Max: Fury Road. Using classical instruments, (strings, brass) he paints a gloomy picture of a post-apocalyptic world where the remaining survivors do not know what to do with themselves, fighting for a place in this world without knowing exactly why. The use of modern electronic music devices adds technological elements to this absurd world (absurd in the musical sense too), showing the eternal cyclical nature of what is happening: technology as a means of destruction, rebirth, and destruction again.

Gravity

When Steven Price was invited to work on the music for Gravity, the film has already been in production for three years. Therefore, Price understood what the film is going to be like, and wanted his music to reflect to film and its "feeling of an open space." This concept influenced the music greatly. It was impossible to do anything too edgy: The action in the film runs very smoothly, and any abrupt musical actions would conflict with the film's atmosphere. And although cruel things happen in the film, they happen with a certain grace, and this influences the choice of instruments and style of the composition. In general, the lack of sound in space determined the music of the film. It dives into the "inner space" of the characters, feeling and empathizing with them, and does not distract itself with external factors.

Inception

Inception is considered one of the best Christopher Nolan’s films in all senses, music included. Diving into another world, the emotional torment of the main character, quick changes of scenery—all this requires strong musical support, without which everything happening would be less exciting. The soundtrack escalates, switches to a more rhythmic tempo, and finally results in an excellent track entitled "Time" that reflects the essence of the movie. Immersing himself further and further not only into the levels of a dream, but also his problems, was the main character able to achieve what he wanted so much? As the music subsides, the question remains open.

Oblivion

M83, led by Anthony Gonzalez, did a great deal of work on the soundtrack to Oblivion. It’s an ideal situation when music and film merge so beautifully. The music in Oblivion becomes almost a visual component of the film. There are clear allusions to Daft Punk. It should be noted that the previous soundtrack composed by Joseph Kosinski was Tron: Legacy, and the continuity of styles is quite obvious.

The Terminator

The level of recognition of this soundtrack is probably comparable only to Star Wars. At the early stage of his career, Brad Fiedel was doing a lot of things: composing film music, accompanying various music bands, etc. But he stood out from the crowd by using a synthesizer which, at that time was a rarity. That’s how James Cameron noticed him and he was invited to work on the music for The Terminator. The main theme sounds very convincing and comes inevitably, as does the Terminator. The famous metal strikes were performed by Brad Fiedel himself—on an ordinary frying pan—is it the same metal that will be melted to produce that same T-800?

Back to the Future

A cult film from a cult director, with the participation of an iconic composer. Although a lot of musicians, including Eric Clapton, worked on the soundtrack, most of the work was done by Alan Silvestri. The music perfectly reflects the spirit of an idealized future, where there are self-fastening sneakers, flying skateboards, and the engine which can make you time travel fits in an ordinary car. The use of synthesizers has brought that same sense of an impending future, and the sound of the orchestra brings a feeling of a confident present. 

The Dark Knight Rises

By the scale of their work, the Zimmer-Nolan duo can compete only with the aforementioned duo of Williams and Spielberg. When it comes to the music of The Dark Knight, it is difficult to split the trilogy apart, since the films are interrelated. Each part the film becomes more epic and the music becomes larger-scale. For example, in the final section Zimmer uses new elements that were not present in previous films—a choir and percussion. As a final touch, the music reused an element from Batman Begins—a theme gradually increasing in drama and reaching a great climax.

Planet of the Apes

The soundtrack from Planet of the Apes takes a different approach to writing film music. Written in the traditions of classical music, it conveys the general atmosphere rather than focusing on specific images. This approach was common in the film music of the mid-20th century, and Jerry Goldsmith, who learned from the renowned film composer Miklos Rozsa, picked up his approach. It’s interesting how the role of the strings in the soundtrack is minimized and the piano and various percussion instruments come to the forefront. Through various methods and non-standard sound production (e.g. knocking on instruments), the composer shows us the phantasmagoria of a world in which the apes rule, and people are just animals.

Avatar

This large scale soundtrack, created using many means of modern music technology, was written by James Horner. Before he composed the soundtracks to Cameron’s Aliens and Titanic. The composer collaborated with Wanda Bryant, musical ethnographer, to create the musical culture of the alien race. Horner worked on the soundtrack from 4:00 AM until 10:00 PM every day, admitting that Avatar was the most challenging film he had worked on and his greatest work up until that point. For example, Horner wrote the choir in the Na'vi language separately from the musical accompaniment, and then combined them into a single composition. The choral singing was recorded in March 2008, the music accompaniment in the spring of 2009. 

Sunshine

John Murphy is a self-taught musician, composer, and multi-instrumentalist, who began his career in the 1980s, has worked with many artists, and in the early 1990s began writing music for films. The name of his track for Sunshine—"Adagio in D minor"—displays his love of classical music (Bach, Puccini, etc.) as well as his approach to writing the soundtrack. This is a typical Adagio with large stringy melody and big bars and could well be the second movement of some modern symphony and in general even resembles the famous "Adagio for Strings" by Samuel Barber. Of course a modern movie needs a refreshed version of such classic slow movement, and for this purpose Murphy applied pulsating bits, which makes it sound fresh and original.

The Matrix

Although there is a lot of music used in the film (Rage Against the Machine, Propellerheads, Ministry, Massive Attack, The Prodigy, and many others), The Matrix first and foremost glorified its composer, Don Davis. Studying the film, Davis noticed that the reflection effect is used in the movie quite often: The reflections of red and blue pills in Morpheus’ glasses, Trinity watching the agents putting Neo in their car through the rear-view mirror on her motorcycle, and so on. Therefore, while writing the music, the composer focused on the theme of reflections, combining the orchestral themes with the contrapuntal ideas.

Escape from New York

John Carpenter’s films are often supplemented by distinctive music composed by the director himself and performed on a synthesizer. As a result, the director personally wrote the soundtracks to almost all of his films. Many of of Carpenter's compositions have been recognized as cult ones. His style varies within the pop-rock/new age. In this film the music goes quite smoothly, with a couple of memorable tracks and individual motives, giving the film a stunning atmosphere.