Mois : août 2018

Universal Music Publishing Group’s Jody Gerson on Songwriter Streaming Royalties: ‘The Fees Are Not Where We Want Them To Be’

Universal Music Publishing Group chairman/CEO Jody Gerson has spoken out about the difficulties facing songwriters in the digital age, and how tech platforms, legislators and publishers alike can step in to help. In an interview with the Wall Street Journal published on Sunday (Aug. 12), Gerson discussed how the increasingly global exposure that streaming platforms offer songwriters is not coming with more equitable royalty checks.While “having music so accessible to so many people is going to be a good thing… the fees are not where we want them to be,” said the CEO. “We get paid much less than the labels. The overall pie needs to grow with the success and the increase in subscriptions [to services such as Spotify].”

What happens when artists and record labels build and buy their own media companies?

But aside from political progress and brand paranoia, this trend is also fundamentally a story about business models.On one hand, as online music media brands struggle to diversify their revenue streams beyond the pennies they get from advertising, several of them are increasingly taking on the marketing grunt work of record labels and embracing more integrated roles in artists’ release campaigns.“WHETHER WE LIKE IT OR NOT, THESE TWO ENTITIES—MEDIA COMPANIES AND RECORD LABELS—ARE BECOMING MORE SIMILAR THAN EVER.”On the other hand, as the traditional major-label model faces growing skepticism, said labels are not only exploring more holistic, service-oriented deals with their artists, but are also scrambling for the right talent and expertise to help them achieve cross-media cultural impact beyond sales alone.

Screen Music Connect announces 2018 line-up 

Screen Music Connect, a conference exploring the world of film, TV and videogame music, has announced the first sessions for its upcoming event.Taking place at the Southbank Centre, London, on 24 September, it will comprise of interviews, case studies and roundtables with composers and industry executives.Topics covered will include artificial intelligence-generated music, soundtracks and classical music, creative collaboration in film and TV, interactive videogame composition, and music for virtual reality.

Le virage numérique, un tournant pour l’étude des musiques populaires ?

Après avoir rappelé ce qu’avaient de spécifiques les conditions d’émergence de l’analyse des musiques « populaires » (encore qualifiées d’ « actuelles » ou d’ « électro-amplifiées », variations sémantiques expressives des débats qui traversent le champ lorsqu’il s’agit de définir et donc de légitimer ces musiques et leur étude) dans le contexte hexagonal, cet article interroge les effets du virage numérique non seulement sur les acteurs et les dispositifs (musiciens, ingénieurs du son, samplers, home-studios, etc.), mais encore sur les auditeurs eux-mêmes. 

Spotify is on a collision course with the major record companies. Here’s why.

In little over 12 months’ time, Spotify will be out of contract with all three major record companies. Universal, Sony and Warner all inked 24-month deals with the streaming platform last spring/summer, MBW understands – with Warner the last to put pen to paper in August.One of Spotify’s biggest victories during these 2017 negotiations centered on its gross margin.All three majors agreed to reduce the average percentage of Spotify per-stream revenue they received in order to give the company a better chance of profitability. (Sources suggest this average percentage fell from 55% down towards 52% – although, certainly in the case of Universal, the reduction was granted on the basis that Spotify hit steep subscriber targets.)Partly as a result of this reduction in payouts, Spotify’s gross margin improved dramatically in 2017 – up 7% year-on-year to 21% from 14% in 2016.

6 conseils pour réussir son live et captiver le dancefloor

Comment réussir son live ? Telle est la question que se posent de nombreux artistes désireux de présenter leurs propres compositions au public. Seulement voilà, le studio et le club sont deux mondes différents, et le plus sophistiqué des tracks peut tomber à plat s’il n’est pas amené et retravaillé de la bonne façon sur scène. Le producteur Roscius, qui a bâti sa réputation sur des live intégrant des instruments venus du monde entier – il est actuellement en tournée entre la Suisse, le Liban, le Royaume-Uni et la France, notamment à Paris lors d’une soirée pour la sortie de nouveaux verres Eristoff – partage 6 conseils avisés afin de créer un live qui ne laissera personne indifférent.