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Showing posts with label Streaming media. Show all posts
Showing posts with label Streaming media. Show all posts

Wednesday, October 2, 2013

BandPage Expands Fan VIP Experiences With Rhapsody Partnership


BandPage Expands Fan VIP Experiences With Rhapsody Partnership
BandPage today announced a partnership with Rhapsody that expands the reach of it's fan VIP Bandpage Experiences offering. Rhapsody will now send targeted notifications,with links to purchase BandPage Experiences directly to fans who have recently streamed or purchased artists in the program. Full integration of BandPage tour dates, bios and photos within Rhapsody will follow in the coming months.
Partnering with site that music fans requesnt is a strategy that BandPage is working aggressively to expand. Last month, they announced similar partnerships to push artist information to Xbox Music and VEVO.
Rhapsody is kicking off their partnership by exclusively marketing BandPage Experiences with Third Eye Blind, Creedence Clearwater Revival, Rozzi Crane, Brandon Boyd of Incubus and Parliament. TEach Experience will be emailed or directly messaged to Rhapsody users who have purchased the artist’s music or streamed them in the last month.
“The newest - and most exciting - way for musicians to generate revenue is through contextual targeting on streaming platforms like Rhapsody,” said J Sider, CEO and Founder of BandPage. “Conversions happen when we reach fans in moments when they are truly and deeply focused on that artist,” said Sider.
According to a recent Nielsen study, up to $2.7B in untapped annual music business revenues exist within fan engagement.. Introduced last spring, BandPage Experiences can captures some of that revenue. According to the company, one summer tour made $100,000 in 48 hours selling VIP Meet-and-Greet Packages.
Third Eye Blind is using the new partnership to offer VIP Ticket Packages which include: a ticket; access to part of the band’s sound check where they'll play new songs; a meet-and-greet, a t-shirt and a signed setlist after the show. "We know that Rhapsody isn't just a streaming music service. It's a place where the ardent fan lives," says Paul J. Springer, Rhapsody SVP.
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Taylor Swift Keeps New Release Off Rhapsody, Streamer Launches #WheresTaylor Campaign


Taylor Swift Keeps New Release Off Rhapsody, Streamer Launches #WheresTaylor Campaign
(UPDATED) You won't hear Taylor Swift's new album "Red" on Rhapsody because, according to the paid music streamer, the singer and her management "made a decision not to make her new album available to Rhapsody’s million-plus subscribers for several months". It's not the first time a release has been withheld from music streamers. But Garrett Kamps, Rhapsody's Sr. Director of Content Programming knows that "hundreds of thousands of subscribers" listen to Swift on Rhapsody, so they've launched a campaign to force Swift to stream the album.
Kamps is asking Rhapsody users to "post and Tweet and comment... (and) let Taylor know how much it would mean to all of us to have her latest on Rhapsody". Subscribers are urged to use the hash tag #wherestaylor.
Most who keep releases off music streaming services believe they'll make more money if fans buy the song or album. But Kamps sees it differently. "We pay rights holders for every stream. This means that if you’re still streaming Red a year or even five years from now, the money’s still flowing down the, er, stream," says Kamps. "Doesn’t it seem fair that artists get paid each time you play their song, every time you play their song, rather than a single time when you pay a buck for it?"
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Wednesday, August 21, 2013

Pulselocker’s Hybrid Subscription Music Service For DJ’s Takes Another Creative Step


Pulselocker's Hybrid Subscription Music Service For DJ's Takes Another Creative Step
Pulselocker launched last year as a subscription streaming service for DJs allowing them to download music to their computer more economically than the dominant pay-per-track model. Earlier this month they launched a web-based version combining on and offline access with special touches designed for pro and semi-pro DJs.
Pulselocker is a unique hybrid service with a smart solution to music subscriptions that include downloads:
"For DJs, what makes the service interesting – and unique – is that unlike other subscription music on demand offerings, users can actually take the songs they 'rent' and save into a special Pulselocker folder on their computer. From here, those tracks can be played with specific, whitelisted DJ’ing applications, like Traktor and Serato."
The service now includes unlimited streaming with pricing "based on how many tracks a DJ wants to save for offline playback, starting at $9.99/month for 25 tracks up to $59.99/month for 1,000."
Rights holders are paid in multiple ways as the founders note:
"As a company founded by artists, our goal was to create a business that gave DJs the freedom to access all the music they could, while keeping the artists’ interest top-of-mind. That’s why we developed our triple monetization strategy, which pays an escalating royalty each time a track is streamed, downloaded into the Locker and DJ’d for more than 90 seconds and purchased outright. While we won’t solve piracy, we’re focused on building a model that puts more money back into the artists’ pocket. "
DJ Pangburn explores some of the more interesting nuances of the system, such as the designation of micro-genres:
"Until 50 people use the same genre in a playlist, it won't become available on Pulselocker. While this will probably introduce some sanity into the micro-genre absurdity, it might not sit well with DJs trying to create their own movement. That decision, however, wouldn't rest with Pulselocker brass, but with its user base. If 50 users cannot be swayed, then so be it."
Perhaps micro-genres aren't the biggest issue around but it's another example of how the Pulselocker team are bringing their creativity to every level of a product designed especially for DJs.
Apparently deals are in the works with majors but, for now, Pulselocker is an indie-focused service
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Wednesday, August 14, 2013

Top Ad Agency Edelman Tells Brands How To Engage The Ever-Evolving Music Fan


Top Ad Agency Edelman Tells Brands How To Engage The Ever-Evolving Music Fan
As music consumption continues to evolve, money from big brands has become increasingly important. Sponsorships, licensing, ongoing initiatives like Converse's Fader Fort and more, all help power the modern music industry's engine. Just ask Jay Z who nabbed $5 million from Samsung for 1 million copies of his latest album. But are brands benefiting from their relationship with music? Top as agency Edelman offers 5 ways that they can:
1. Fish where the fish are - "In a fragmented music market, it’s essential that brands meet consumers in their native music-listening environments... Although opportunities for brands to engage music listeners are vast, brand-plays on music streaming services like Pandora, iHeartRadio and Spotify are ripe for consideration."
2. Do some sensory research - "Forget pushing products right out of the gate and get a feel for the target market’s passion, listen to their playlists, go see a live show, taste (and smell) the festival food. Perhaps the brand will even discover its own music identity in the process."
3. Gain listeners for the long haul - "Engagement with them is as simple as finding a common musical interest and committing to staying in touch."
4. Add a “wow” factor - "The music scene can be loud in more ways than one, and getting a brand to stand out among the crowd can seem like quite a hurdle.... The next best thing could be right under your nose. Creatively leveraging sponsorships, partners and social media can do wonders.
5. Practice what you preach - "If your brand is looking to communicate with music fans, keep an arsenal of knowledge about the music industry."
What do you think of Edelman's advice to brands?
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Tuesday, June 18, 2013

Think of your music as a service, not as a product


Think of your music as a service, not as a product

Posted on June 18, 2013by 
I was reading through my email and found this interesting article about selling your music on Hypebot.com, if you just happen to be a indie artist like myself. And I wanted to share it. So enjoy reading it and give me your feedback on what you think of the article. Enjoy Dueces
June 18, 2013
Think of Your Music as a Service, Not as a Product
BY: MARK DOYON | 1 COMMENT | PRINT ARTICLE
As an independent recording artist, do you think of your music as a service or as a product?
When the phonograph debuted in 1877, the traditional service of music (live performance) was transformed into a product (recordings). This product was stored on physical media — wax cylinders that eventually evolved into vinyl records, 8-tracks, cassettes, CDs, digital downloads, and other formats. This single innovation, through its ability to reproduce recorded sound, forever changed the way we experience music.
It wasn’t long before people started thinking of music as something to own and collect as much as experience. When someone bought an album containing the music of Louis Armstrong or Benny Goodman or Les Paul, they owned it. They could keep it or they could sell it. It was theirs. And they could enjoy and appreciate that music without ever seeing the artist perform it live.
Virtually no one alive today remembers a time before vast, personal record collections, a day when music could be experienced only in the moment in which it was performed. But that is exactly how it was experienced for thousands of years before Edison.
Something surprising is happening in the 21st century. Recorded music is becoming less of a product every day.
Recorded Music Becomes a Service
In 2000, when digital downloading was gaining steam through Napster and other file-sharing platforms, sales of CDs started a precipitous decline. And they declined throughout the decade, losing more ground each year to iTunes and Amazon and other digital retailers. As the digital snowball grew, consumers learned to think of their music as a non-physical commodity — as digital files on iPods and computers rather than as pieces of molded plastic stacked on shelves. With the advent of music streaming via Rhapsody, Pandora, and Spotify, the transition of recorded music from product back to service was underway.
Suddenly you didn’t need to “own” a collection of non-biodegradable products that inefficiently held your favorite music recordings. You could simply pay for a service that granted you access to virtually all of the commercially available recordings in the world.
You could just summon the music whenever you wanted to hear it — in much the same way you might have asked a performer to play your favorite song in a public square in 1840. Or in 1540.
And the physical recordings you owned? Well, they sure did take up a lot of space.
So what does all this mean for you as an independent recording artist?
Performing a Creative Service through Your Recordings
An interesting thing happens when people switch from buying CDs to paying for music-streaming services: the secondary market disappears. There is no equivalent to horse-trading in the streaming world. Your recordings on streaming services are always yours, no matter how many times people enjoy them, no matter how old they get. When someone listens to one of them, you’re paid. Every time.
No question, CDs still make great takeaways along with the merch at your live shows. But if you follow music commerce in 2013, you’re probably not spending too much time selling shiny, little plastic widgets with copies of your recordings on them. Instead, you are allowing your recordings to perform for your audience. When someone spins one of your songs on Rhapsody, you receive a payment of a little under a penny. On Spotify, you get about half a cent. And sure, that will probably never pay the light bill. But the transparent tracking of plays isn’t just about revenue. It’s about knowing how frequently your recording is being played, and understanding the nature and quality of the interactions between you and your audience.
It’s about building that essential relationship.
Streaming is changing the way we experience music. The recordings you’ve released into the world are now standing up and being counted every time they’re played. And their intrinsic value as a creative service performed — original to you — is here to stay.
—
Mark Doyon is principal and creative director of Wampus Multimedia, a record label, publishing imprint, and creative branding agency based in the Washington, D.C. area.
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