Mois : mai 2018

FRANCE: Le SNEP et l’UPFI publient une étude démontrant le caractère vertueux du crédit d’impôt à la production phonographique

« Le retour de la croissance sur le marché de la musique enregistrée ne doit pas nous leurrer. Dans un contexte plus que jamais concurrentiel pour nos artistes « made in France » et, alors que la production locale de musique enregistrée demeure structurellement déficitaire pour 9 projets sur 10 signés en France, il est plus que jamais décisif que les pouvoirs publics s’engagent à pérenniser ce dispositif et à le renforcer. »

Common cover art mistakes that will get your music removed from streaming services

Oftentimes before anyone listens to your music, especially on digital platforms, they’ll first see your cover art.Cover artwork is the visual gateway into your music, and it’s the image that listeners will associate with your music afterwards.But if your cover art sucks or confuses people, potential listeners will never press “play.”Worse, if your cover art doesn’t comply with our digital partners’ guidelines, the streaming and download services won’t even make your music available on their platforms.

Peter Thompson on the award-winning Play It Again Sam

When I took over the label it was already becoming increasingly hard for independents to have hits or at least in the way we had become used to in the 90s and early 2000s.I wanted a label that could support a wide range of talented people and if we had hits along the way so be it but first and foremost it was important that our artists had careers and could release lots of music and tour successfully.Given that we didn’t have any hits I like to think that winning the Music Week ‘Independent Label of The Year’ award is an acknowledgement that we built a strong roster of artists across many years and people are now starting to see the breadth and depth of the label.

Ces inégalités qui minent le monde de la musique | Médium large

À l’heure des mégavedettes comme Justin Beiber, Kanye West et Beyonce, une énorme majorité des musiciens peinent à joindre les deux bouts et à trouver une diffusion adéquate. C’est le constat que pose le journaliste musical Alain Brunet dans l’essai La misère des riches, dans lequel il blâme les géants de la diffusion de contenu, comme Google, Spotify, Amazon et Apple pour leur refus de verser de justes redevances aux créateurs. En compagnie du musicologue Danick Trottier et de la musicienne Frannie Holder, Alain Brunet explique à Catherine Perrin que la fascination du public pour le grandiose entretient ces inégalités.

7digital brings Juke to more of Europe, lands deal in live music –

B2B music provider 7digital announced two developments. The company has partnered with Powerchord for a three-year deal in live music and events. Under this agreement, 7digital will offer technology and reporting services for the Peex brand, which provides enhanced audio during concerts and downloads afterwards. Peex is expected to launch in the U.S., the UK, and Europe later this summer.In addition, 7digital has been expanding the launch of streaming music service Juke, a collaboration with partner MediaMarktSaturn. Juke debuted in the Netherlands in April and rolled out in Germany last week. The platform is expected to eventually launch in all 15 countries where MediaMarktSaturn operates, with Spain the next target.

Vidéo : les majors de la musique capitulent face à YouTube

Vevo , le portail des majors qui aurait pu devenir la première destination de la toile pour les clips vidéos, ferme ses sites.Dans le secteur des médias, le contenu n’est pas toujours roi face à la puissance de distribution. C’est ce que prouve le portail de vidéoclips Vevo – qui appartient aux labels de musique Universal Music, le numéro un mondial, et Sony Music – en procédant à ce qui est interprété comme une capitulation face à YouTube.

Apple launches global music publishing division, headed by Elena Segal

Apple has launched a new internal division dedicated to music publishing, MBW understands, led by respected exec Elena Segal.Segal, who was previously Legal Director of iTunes International, is stepping up to become Apple Music’s Global Director of Music Publishing.The legal & business affairs specialist (pictured), who is well-known amongst the upper echelons of the music publishing community, will split her time between London and the US.

La réforme des instances d’avis du secteur culturel francophone approuvée en gouvernement

Redoutées par les opérateurs artistiques, soupçonnées parfois de copinage voire de conflits d’intérêts, les instances d’avis du secteur culturel vont vivre une profonde réforme devant mener à davantage de transparence et d’efficacité à l’avenir. Le gouvernement de la Fédération Wallonie-Bruxelles s’est en effet mis d’accord sur un avant-projet de décret devant garantir à l’avenir une … lire plus

Interview with Dancing Bear Records co-founder Silvije Varga 

How is being a label different now than it was when you started?It is becoming much harder nowadays I think. There is not as much space as there once was 25 years ago. It is not easy to earn money as a label. I mean, it was never easy, but if you were ready to work 24/7, you could manage to build something with over time. We used to do much more with less people. Today, for the same result, we need more people and more work.Nowadays, it is not easy to produce and sell music with young people interested in such a large music spectrum. Internet brought a large window to the whole world, but also a lot of spam and noise, and you require many more efforts to find something good for you.

Saïd Assadi — “Le 360 Paris Music Factory est un laboratoire augmenté”

Saïd Assadi, fondateur de la maison de production Accords Croisés, du festival Au Fil des Voix et maintenant du lieu de création musicale Le 360 Paris Music Factory (qui ouvrira ses portes en janvier 2019) a pris le temps de nous exposer sa vision du monde de l’industrie musicale. Grand passionné par le monde des musiques et défenseur des artistes en développement, sa vision du modèle de l’industrie de la musique actuelle est intéressante, sinon nécessaire

In-Venue Music Recognition Technology Is Changing Artist Payouts — One Country at a Time

One of the biggest challenges confronting the music industry is simple recognition.  If a song is played, is it actually recognized, processed, and paid?In the U.S., that’s a serious question on the streaming side, where some estimates peg unrecognized mechanical licenses in the 25-35% range.  But worldwide, serious concerns also surround the recognition of in-venue plays, particularly at clubs, festivals, and other locations.Accordingly, a number of companies are actively solving this issue worldwide, with heavy coordination already occurring across digital distributors, recognition technology companies, and PROs.Welcome to the fast-growing sector of in-venue Music Recognition Technology, or MRT.

Women in Music Index – Music Cities Network

Through its worldwide network the Music Cities Network started an index of research, studies, panels, networks, conferences, events, policies, festivals, mentoring, funding programs, and collectives with a female focus in the creative and music industries. The aim is to broaden the visibility of female focus music networks, to get inspired and connect the dots which haven’t been done so before – for new ideas and future connections. This index is by no means exhaustive. The entries will be updated and expanded regularly. You can filter by column and search after keywords.