Music Business Articles
The No.1 Website for Pro Audio
 Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
Articles - Music Business Articles
Lights 21st June 2011 02:16 AM
Lights Fade Low

Lights Fade Low Lights Fade Low brings an epic cinematic feel to modern down-tempo and trip-hop. Lights Fade Low mixes haunting melodies with modern beats and lush vocals, to create a unique and compelling sound. Lights Fade Low is the work of Seattle-based singer-songwriter-producer Darren Apfel, who studied music theory and technology at Yale University’s Center for Studies in Music Technology. Hurricane, released 04 May 2012 You know you want to break me You want to take me Forsake me In your hurricane I know you want to ride me To divide me Inside me In my hurricane Take me Ride me Forsake me Inside me You know you want to twist me But you can’t resist me You kissed me In your hurricane I know you want to hurt me To pervert me Desert me In my hurricane You want me bad Want what you have Caught in the breeze Swept up in me I know you want to fix me And that conflicts me Tricks me In my hurricane You know that you complete me But you cheat me Beat me In your hurricane I know you want to hate me But you date me And bait me In your hurricane I’ll be just what you want I’ll be your everything If it were up to me I’d be the only thing you need You want me bad Want what you have Caught in the breeze Swept up in me Break me, take me, forsake me Ride me, divide me, inside me Twist me, resist me, kiss me Hurt me, pervert me, desert me
I'm currently on bandcamp. I love its music hosting system and the fact that people can preview whole tracks and download them in any format they like all generated from a WAV file.

However, it's unfortunate that they ONLY focus on the music hosting/selling. I'm looking for something either to SUPPLEMENT or REPLACE bandcamp to more easily support creating an artist identity/profile/blog, a place to host videos, and a way for interested people can contact me (without splattering my email address on a webpage to be scraped by a spambot).

What I don't want to give up is the ability to organize and arrange albums, make them freely or for-pay downloaded in a variety of popular formats, etc. (As I suggested I would happily use some other website tool for the rest and keep bandcamp as my music hosting site.)

My biggest requirement is that I can point my custom domain ( to this site and it appears as if it's MY site with MY domain and MY custom experience. Bandcamp does this relatively well.

underdog 20th June 2011 08:48 PM

Hi guys,

Here is our latest demo with young Sophie - it still needs work but I thought I'd ask around for remixes, as it has a lovely summery groove.

You can hear it here:
Sur La Plage (on the beach) DEMO by Beneath the Underdog on SoundCloud - Create, record and share your sounds for free

I'm looking for something that would go down a storm in Ibiza. I can supply whatever files you need.

Please let me if anyone thinks this is worth a punt,

rack gear 17th June 2011 07:58 AM
Indie Label Says No To Apple's iCloud: "Copyrights Trampled", "An Insult" - hypebot

Chicago based indie label Numero has opted out of Apple's iTunes In The Cloud and in particular iTunes Music Match. "We feel that a great risk is being taken by Apple and the major labels that have accepted the terms of this new product wholesale with not a thought beyond the 150M those so-called “big four” will probably divide and pay to their top executives. By that, we mean that laws that protect compositions and copyrights for songs are, more or less, being trampled under these agreements," according to label head Rob Sevier. He continued: "...Apple and their major label...
Indie Label Says No To Apple's iCloud: "Copyrights Trampled", "An Insult" - hypebot
nuthinupmysleeve 17th June 2011 06:18 AM
Study: 24.5% of online video is Netflix, iTunes 9.8 percent | Electronista

A new study by Citigroup analyst Mark Mahaney reinforced Netflix's dominance of online video. The online check had Netflix representing 24.5 percent of online video, ahead of Hulu (22.5 percent) and just short of Facebook (27.1 percent). iTunes was
Pretty interesting...

Study: 24.5% of online video is Netflix, iTunes 9.8 percent | Electronista
nuthinupmysleeve 11th June 2011 06:33 AM
Vienna Music Business Research Days 2010 on Music File Sharing and Music Flatrate Models « Music Business Research

* Program of the first Vienna Music Business Research Days * Date: June 9-10, 2010 Locations: University of Music and Performing Arts Vienna, Fanny Hensel-Mendelssohn-Hall and Joseph-Haydn-Hall, Anton-von-Webern-Platz 1, 1030 Vienna ** Program on June 9, 2010 02.30-04.00*pm: Workshop (in German) on “Methoden zur Musik-Filesharing-Forschung” (“Music File Sharing Research Methods”) by Prof. Felix Oberholzer-Gee of…
Vienna Music Business Research Days 2010 on Music File Sharing and Music Flatrate Models « Music Business Research
The Press Desk 7th June 2011 05:07 AM
SoundCloud Passes 4 Million Users, Partners With To Give Bands A Killer Promotional Tool | TechCrunch

By now, you may have run across a SoundCloud audio track somewhere out there in the wild, wooly Interwebs -- perhaps during one of your mad, late-night music searches. In which case, you're familiar with the tell-tale signs: The scrolling orange cursor, the messages tagged mid-song, and that distinctive social waveform layout. For those who have no idea what I'm talking about, SoundCloud is the fast-scaling, Berlin-based audio sharing platform that enables music-makers and audio-lovers to upload and share audio tracks. Because of SoundCloud's somewhat unique visualization (tracks are laid out horizontally in waveform, as they might appear were they fresh out of the studio, or playing in GarageBand or some other music creation app), users can add comments to the waveform at specific times during the track. (Like,
"Killer promotional tool" (Tech Crunch) Connects Musicians Big and Small To Millions of New Fans Through Social Media, the "killer promotional tool" (Tech Crunch) for musicians, is the only service that helps artists of all sizes – from superstars to indie acts – instantly reach millions of new fans on Facebook, Twitter and other social destinations. is an innovative social recommendation service that connects similar artists based on factors like location and genre, and encourages them to promote each other via the social platforms. For the first time, in partnership with SoundCloud,'s 50,000+ signed and unsigned users now have an equal opportunity to place their music directly in the Facebook feed of millions of new fans.

Read why Tech Crunch is calling a "brilliant idea":
SoundCloud Passes 4 Million Users, Partners With To Give Bands A Killer Promotional Tool
Check out’s demo-reel to see how it works: Sizzle Reel on Vimeo

Here are some real-world examples of artists reaching millions of new fans with one click:

- Travie McCoy, frontman for Gym Class Heroes, utilized to promote a free download on his social platforms as well as his upcoming tour. In the span of six weeks, more than 9,000 artists collaborated with McCoy on the promotion, ultimately reaching five million fans and increasing his social media traffic by 22,000 clicks.

“Headliner made it incredibly quick and easy for us to help Travie McCoy's 'Billionaire' single reach over 5 million new fans. We got amazing results from the campaign...hits on the music video, music downloads, and new followers on Twitter. Thank you!”

Adam Samiljan (Senior Director of New Media, Fueled By Ramen)
Reached 5,157,687 New Fans

- Up-and-coming artist H*Wood used to raise awareness of his single “Could It Be You (Punk Rock Chick).” One month later, had helped H*Wood reach more than 2 million new fans and the video now has more than 1 million YouTube views.

“Thanks to I am accessible to my fans around the world! From Twitter to iTunes, people can reach me or buy me. Your Twitter and Facebook promotions made the world take notice of my music, increased views of my video and increased my followers on Twitter too! Thank you”

H*Wood (Artist)
Reached 2,309,608 New Fans

- Independent alt-rock band Anarbor used to promote their candidacy for Best Freshman Video on MTVu. In a span of just two weeks, Anarbor reached more than 2.3 million fans through recommendations by over 105 artists. The band ended up winning the award by a margin of 28%.

“Headliner did an amazing job in promoting the Rob Thomas Artwork Contest on all of Rob's social networks. They are the new name of social media promotions! I look forward to the next promotion.”

Nick Lippman (Manager, Rob Thomas)
Reached 1,295,136 New Fans

Scoobz 1st June 2011 05:52 PM

I'm researching (alot) into copyright and it's provable registration.

I'm a bit alarmed by this......

About music copyright

So what do I do? I want to be able to prove I wrote my tracks should the need arise.

I mistakenly posted in the wrong forum, please read my other post....

All input welcomed, thanks
Silver Sonya 31st May 2011 06:21 PM
News Corp Is Still Entertaining Bids for Myspace Social Entertainment Hub - Kara Swisher - Social - AllThingsD

The sale of Myspace by its owner News Corp. is still going, going, going, gooooooing on...
Anyone want to buy it?





- c
chrisso 31st May 2011 02:41 AM
Lady Gaga takes tea with Mr Fry -

The Lanesborough Hotel Saturday evening, May 14 2011 It takes quite a bit to excite the staff of The Lanesborough Hotel, one of London’s more self-consciously luxurious five-star residences. Princes, sultans, presidents, oligarchs and film stars
Well not exactly, but as a few love to ridicule John's comments that touring is expensive, here's some news for you:
I put everything in the show, and I actually went bankrupt after the first extension of The Monster Ball. And it was funny because I didn’t know! And I remember I called everybody and said, “Why is every one saying I have no money? This is ridiculous, I have five number one singles – and they said, ‘Well, you’re $3m in debt." / FT Magazine - Lady Gaga takes tea with Mr Fry
elan 31st May 2011 02:13 AM
Apple iCloud: Details emerge on new music service -

Apple is almost certainly getting ready to release a cloud-based music service. So what's inside the 'iCloud'?
Apple iCloud: Details emerge on new music service -

that's what I was talking about in many discussion, and people always took me as a crazy guy

that's exactly the only way to get a rid of piracy (plus other things that need to be taken care of)


that should sound as a great news

except for the fact that will end the physical distribution and music shops, once so important to find new music, to select what was the best and what crap (do you remind when you went to the music shop talking to the owner and also to other clients, listening to music in the shop and so on... ended)

and also the end of music physical distribution, which means independent labels will have hard times.. because with the physical distribution you would have a chance to find an independent distribution that will put your albums in shops... now if Apple doesn't think your music is important, you will not be in iTunes and in the cloud, or you will be there (much probably) but without promotion, because only majors can pay for advertisement on iTunes

with the time passing, imaging a world with everyone with at least and iPod, iPad, iFu*k, everyone will listen to music using iTunes and iCloud...

hey guys, I have two macs and I like Apple, I'm a real fun but I believe in plurality, multiplicity, and I don't like to get my music only from one source and honestly I think iCloud is the only way, now, to make big profits with music, but what if that all p2p is something wanted by the majors to get a rid of music shops and distributions with 10 years and more of discography crisis so no one has the responsibility of that change?

million of people (shop owners, distribution workers and so on) that loses their job and the responsibility is of that p2p ghost...

what if that p2p ghost has been created or hiddenly supported to get a rid of physical distribution, physical support, etc, and transfer everything on the net?

where they can control everything better, have much less costs eliminating the distribution, the support, everything, so... no cost for them (except studio, producers, promotion, but much less because everything is on iTunes)...etc, only profits....?

bogeyeater 31st May 2011 01:07 AM
The Quietus | Opinion | Black Sky Thinking | How The Music Industry Is Killing Music And Blaming The Fans

A new rock music and pop culture website. Editorial independent music website offering news, reviews, features, interviews, videos and pictures
How The Music Industry Is Killing Music And Blaming The Fans:

The Quietus | Opinion | Black Sky Thinking | How The Music Industry Is Killing Music And Blaming The Fans

chrisso 30th May 2011 03:27 AM
Twitter 'gives data to council'

A UK council says Twitter has released information after it acted in a US court to identify a blogger behind allegedly libellous statements.
So much for US freedom of speech legislation.
Could this mean the end for tweets and blogs libeling music companies, such as software and equipment manufacturers?
BBC News - South Tyneside Council 'gets Twitter data' in blog case
Freq AudioWorks 28th May 2011 09:47 AM
Worldwide Music Industry Revenues (2006 - 2011)

Worldwide Music Industry Revenues: 2006 ($60.7 billion), 2007 ($61.5 billion), 2008 ($62.6 billion), 2009 ($65.0 billion), 2010 ($66.4 billion), 2011 ($67.6 billion)
Worldwide Music Industry Revenues (2006 - 2011)

2006 ($60.7 billion)
2007 ($61.5 billion)
2008 ($62.6 billion)
2009 ($65.0 billion)
2010 ($66.4 billion)
2011 ($67.6 billion)

Worldwide Music Industry Revenues (2006 - 2011)

Someone tell me if that site is displaying actual numbers, because a quick google search did seem to agree with those numbers.

So if the music business is dying, then why are the revenues going up? 7 billion increase in revenues in 5 years according to those statistics.

I'm not trying to be a smartass.. I'm purely asking because I don't know!
PeterTuneCore 25th May 2011 08:06 PM
Behind The (Digital) Music | TuneCorner Music Blog

By Jeff Price & Peter Wells TuneCore delivers music to iTunes, AmazonMP3, Amazon-on-Demand, Rhapsody, MOG, eMusic, Napster, Spotify and others. It allows TuneCore Artists to pick and choose which stores or distribution points they would like there music to be distributed to. Here’s a look inside the process of adding a new distribution point.
Hey Slutz,

TuneCore founder Jeff Price and I just wrote an interesting piece about the mechanics of adding a digital store to our distribution roster. It's going to update frequently. Feel free to read it here:

Behind The (Digital) Music | TuneCorner Music Blog

We're trying to share with the world just what's involved in distributing music, the "moving parts," all the details. It's a fascinating process, we're going to lay it bare in close to real-time.


Co-founder, TuneCore
[email protected]
rack gear 24th May 2011 10:05 PM
Hypebot's Music Industry Jobs

Find jobs at Hypebot's Music Industry Jobs.
helping people find jobs in an industry they despise and want to see die, fascinating:

Hypebot's Music Industry Jobs
rectifier 23rd May 2011 06:57 PM
Amazon Hits iTunes Again With $0.99 Lady Gaga Album, Qualifies for Cloud Drive Storage Upgrade - Mac Rumors

Last month, Amazon rolled out a promotion highlighting 69-cent new release tracks in its MP3 download store, an apparent effort to draw market share...
The fact that it is worth so little is perhaps not news to all .. Amazon taking it to Apple. 0.99 vs 13 dollars.

Amazon Hits iTunes Again With $0.99 Lady Gaga Album, Qualifies for Cloud Drive Storage Upgrade -
Sim 20th May 2011 02:08 PM
3 Major Labels Say They'll Share LimeWire Settlement, But New PR Nightmare Emerges - hypebot

When Hypebot and others suggested that, based on previous statements, none of the $105 million settlement that LimeWire is paying to labels was unlikely to find its way to artists, the RIAA contacted us to say that they really weren't in control of who got the money. So we went to the four major labels and asked, "Will you be distributing some of this $105 million to your artists?". For the three that replied, the answer is yes. RIAA Pushes For Warrentless Search Law Without providing any specific details, Warner Music Group, EMI and Univeral Music, all said that they...
3 Major Labels Say They'll Share LimeWire Settlement, But New PR Nightmare Emerges - hypebot
chrisso 18th May 2011 08:35 AM
Copyright law in digital makeover

A review of the UK's copyright law makes ripping CDs and DVDs legal, while relaxing rules on parodies and reworkings of existing material.
The review is in.......and suggests not much needs changing.
BBC News - Hargreaves review gives copyright law digital makeover
chrisso 17th May 2011 02:19 AM
Is Google taking the 'you' out of YouTube?

Despite YouTube having the tagline "broadcast yourself", most viewed lists are now filled with corporate "virals" and internet celebrities, so has the site moved on from its amateur origins?
Interesting article.
BBC News - Is Google taking the 'you' out of YouTube?
Good on Google for investing heavily in quality content, although that begs the question, what was wrong with homemade/amateur content?
Another line that might have parallels with the music industry in my view......

The site, once believed to be changing the way television works, is now looking to borrow ideas from TV's established revenue models.

nuthinupmysleeve 15th May 2011 08:59 PM
Kathryn Schulz: On being wrong | Video on

TED Talks Most of us will do anything to avoid being wrong. But what if we're wrong about that? "Wrongologist" Kathryn Schulz makes a compelling case for not just admitting but embracing our fallibility.
Whether it's being wrong about a musical idea, a business decision, or a relationship... this TED talk could probably help many of us reframe what it means to be wrong.

Sometimes that mistake is what pushed you over the edge into success.

Highly recommended..

Kathryn Schulz: On being wrong | Video on

BTW... I'd recommend searching around TED, there are some AWESOME talks well worth the time by thought leaders in their area.
chrisso 14th May 2011 01:41 AM

More evidence increased access to information damages careers. Web 2.0 and modern marketing techniques using the internet seems to be hurting artists rather than increasing their standing and resultant sales.
Easy access to stars through social networking websites has made them less appealing and increases the likelihood of followers getting bored, music consumer research by publishers Bauer Media said.

"In this social media age, it's all too easy to follow your musical icons on a minute-by-minute basis. There's a consensus within the industry that this ease of access is leading to artists losing appeal more quickly," the Phoenix IV report said.
Tweeting celebrities risk boring fans - survey - The West Australian
nuthinupmysleeve 12th May 2011 12:41 AM
Smashwords gets self-published e-books to market - SFGate

Monthly U.S. e-book sales tripled between February 2010 and 2011 to hit $90 million, while sales of printed books fell by 25 percent, according to the Association of American Publishers. Most of today's e-book purchases are works from major publishers - digital versions of print bestsellers like "Water for Elephants" or Tina Fey's "Bossypants." Reaching readersBest-selling thriller writer Barry Eisler made headlines in March when he turned down a $500,000 advance from a mainstream publisher and opted to self-publish instead. [...] Amanda Hocking - a 26-year-old novice writer of young-adult fiction about vampires and other supernatural beings - landed a $2 million contract with St. Martin's Press after selling more than a million self-published e-books. Many companies that let people publish their own printed books - traditionally known as vanity presses - now offer an e-book option too. Smashwords lets writers format their work for a wide variety of competing e-reader devices, not just a single device like the Kindle or Nook. [...] Smashwords charges a share of sales - 15 percent of the revenue that an author receives after online retailers take their cut. Coker, a former Silicon Valley publicist, started Smashwords in 2008 with the lofty goal of using technology to democratize publishing - allowing writers to appeal directly to readers without having to deal with gatekeepers such as agents and editors. The only e-books Coker refuses to distribute are ones that contain plagiarism, illegal content or incitement to racism, homophobia or violence. If e-book conversion and distribution become a standard part of writers' software, it would undercut demand for Smashwords' services. Jack Erickson, a Burlingame financial adviser who has self-published seven mystery and suspense e-books, is closer in sales to the average Smashwords author than he is to a Hocking or McAfee. [...] five months ago, he started giving it away. -- Fast Pencil ( This Campbell company allows writers to create both e-books and printed books and offers social-networking capabilities through which family and friends can contribute to a writer's work-in-progress.
Smashwords gets self-published e-books to market
chrisso 11th May 2011 02:26 AM
RA News: Sounding off: Creative entrepreneurialism

News: Sounding off: Creative entrepreneurialism
RA News: Sounding off: Creative entrepreneurialism

Again, from the dance music perspective.
I have nothing critical to say, other than it appears normal/positive now to think musically for one third of your time, and two thirds (the majority) on marketing and business.
lagavulin16 10th May 2011 06:57 PM
It sounds like they couldn't come to an agreement with the record labels, so they're just going to let users upload their own songs and then stream them.

Google Music to Finally Launch, Without Major Label Backing › AndroidGuys
latestflavor 6th May 2011 04:41 PM
Billionaire Blavatnik Will Buy Warner Music in Deal Valued at $3.3 Billion - Bloomberg

Warner Music Group ’s former director Len Blavatnik agreed to buy the record company of artists including Cee Lo Green and Bruno Mars for about $1.3 billion, a deal that may trigger a round of industry consolidation.
Blavatnik Said to Win Bid for Warner Music at $8.25 a Share - Bloomberg

basically one private equity buyer to another.

He wanted MGM but settled for Warner.

At least he knows what he is getting into.
Sim 5th May 2011 12:43 PM
WMG Update: Bids Are In, Deal Expected Soon - hypebot

According to multiple sources final bids are in the hands of the Warner Music Group board for review and they hope to finalize a deal quickly. The three bidders remaining are billionaire investor Len Blavatnik's Access Industries; a joint bid from Tom and Alec Gores' Platinum Equity and Gores Group; and a pair of separate bids from Sony Corp's recorded music arm and publishing units in partnership from investor Ron Perelman and Guggenheim Partners respectively, Reuters is reporting. CEO Executive Edgar Bronfman Jr and his board are said to want to close the sale process without delay with one of...
WMG Update: Bids Are In, Deal Expected Soon - hypebot
rack gear 4th May 2011 08:41 PM
Spotify Update Takes On iTunes - hypebot

With Apple the dominate force in digital music, others must stay compatible (Jobs' closed eco-system is not easy to penetrate) or to compete. (Remember the Zune?) Today Spotify announced changes that ambitiously try to do both, while also addressing some label concerns that have stalled a U.S. launch. New Spotify features include: the ability to manage an iPod within Spotify including wireless sync a new Spotify download store with lower prices an option to purchase full playlists all users can now use the Spotify Mobile app to sync MP3 playlists Spotify's goals with this upgrade are many. Publicly they say...
Spotify Update Takes On iTunes - hypebot
rack gear 29th April 2011 10:41 PM
#RETHINKMUSIC - "ClingTo Old Vines" vs. Exploring New Compensation Schemes - hypebot

OneHouse and former Choruss founder Jim Griffin, forced a dramatic shift in the discussion during today's "Alternative Compensation Schemes" Rethink Music panel by arguing that most monetization plans are naively based on the antiquated concept of control. "The music industry is clinging to an old vine and its time to find a new one," Griffin argued calling for blanket compulsory licenses. "As creativity moves from the center to the edge of the network, so must licensing." Academic and Creative Commons founder Lawrence Lessig argued, "This is a fight between those that make money under the old system vs those that...
#RETHINKMUSIC - "ClingTo Old Vines" vs. Exploring New Compensation Schemes - hypebot

uhmmm ok... what is it exactly, and how much does it pay?

warmer 29th April 2011 02:28 PM
Nerina Pallot: Why a major label record deal still matters | Music | The Guardian

What's best for a musician these days – DIY or major label? Nerina Pallot explains why a big record deal is still a huge advantage
Nerina Pallot: Why a major label record deal still matters | Music | The Guardian

Quite an honest article, seems she really needed better management and advice.
rack gear 28th April 2011 06:49 AM
News Corp Set To Loose $500M To Unload MySpce - hypebot

News Corp is seeking a minimum of $100 million dollars for MySpace and has set a bid deadline of this week, according to sources. News Corp paid more than $580 million for MySpace in 2005 and invested more in the years that followed. Despite falling user numbers and the rise of Facebook, several suitors are set to make offers. Among the names showing interest in MySpace include private equity firm THL Partners, Redscout Ventures, Criterion Capital (owner of social networking site Bebo), Chinese Internet holding company Tencent and Myspace co-founder Chris De Wolfe.
News Corp Set To Loose $500M To Unload MySpce - hypebot
tribeofenki 27th April 2011 04:21 PM
Music News, Reviews, Articles, Information, News Online & Free Music |

From the latest music news and music reviews, to Billboard music charts, music articles, videos and more, you'll find the music information you want at

Billboard editors used proprietary data from the Boxscore archives for U.S. concert grosses. We used SoundScan for sales of physical and digital albums and digital tracks. Data from Nielsen BDS provided information on tethered music downloads, on-demand music streams and noninteractive streaming at Myspace, Rhapsody, Napster, AOL, Yahoo, Slacker, MediaNet, Guvera and Thumbplay. Also included in our calculations were Vevo video plays, as well as video data compiled by online tracking service TubeMogul for Myspace, YouTube, Metacafe, Dailymotion and other video-hosting sites.

Corresponding mechanical rates and estimates were applied for each of the aforementioned categories. In calculating an artist's share of revenue from recorded-music sales, we assumed a royalty rate of 20%, minus producer fees. Artists received 100% credit for the sale of a title or concert Boxscore if credited as the lead artist and 50% credit if they shared equal billing with another artist. An example is the James Taylor/Carole King shows: We split the gross in two and calculated from there. We credited each artist with 34% of gross tour receipts (what's typically left after the promoter's fee, the artist manager's fee and other costs are subtracted).

An artist's take of revenue from on-demand streams was calculated based on the average wholesale rate paid to labels. Revenue from noninteractive streams was based on SoundExchange's rate settlement with webcasters. An artist's share of revenue from tethered downloads was calculated on the number of plays. In instances where the artist is a songwriter, Billboard estimated the share of songs written by that artist.

CD mechanical royalties for artist/songwriters were calculated by assuming the standard royalty rates. For digital album and track downloads, we used the current statutory rates, assuming 12 tracks per album. We also subtracted a 10% manager's fee for each revenue category.

What our figures don't include: revenue from merchandise sales, sponsorships, synchronization deals, international tour dates, songwriter performance royalties from terrestrial radio play, DVDs and ringtones. Why? There just isn't enough of that kind of data available across the whole board.

The data used in this report was compiled and calculated by Billboard senior correspondent Ed Christman, research manager Gordon Murray, senior editorial analyst Glenn Peoples and Boxscore chart manager Bob Allen. All song and album sales numbers mentioned are according to Neilsen SoundScan unless otherwise noted.



Alicia Keys

Michael Jackson

Susan Boyle



Elton John

Reba McEntire

George Strait


Brooks & Dunn

“Glee” Cast


James Taylor

Carole King

Lady Antebellum

John Mayer


Toby Keith

Eric Clapton




Rascal Flatts


Tim McGraw

Carrie Underwood

Brad Paisley

Tom Petty & The Heartbreakers

Paul McCartney

The Black Eyed Peas


Michael Bublé

Taylor Swift

Justin Bieber

Dave Matthews Band

Roger Waters

Bon Jovi

Lady Gaga


Eric 'slowhand' Clapton (20th in the list) earns 57154 times the average tunecore artist.

woodfoot 22nd April 2011 01:26 PM
Services to remove illegal content.


Removing illegal music downloads and file sharing site links.

If so, do they produce tangible results or is it just a service which contacts the sites which host it?
nuthinupmysleeve 21st April 2011 09:27 PM
Everything popular is wrong: Making it in electronic music, despite democratization | Little White Earbuds

Stefan Goldmann on why Web 2.0 can work for you but won't for most, where all the money went and how working against the market consensus can be a winning strategy.
You know what is interesting? This guy tells the same story many here are telling, but only in passing mentions piracy. Worthwhile read.

Everything popular is wrong: Making it in electronic music, despite democratization – Little White Earbuds
ToddP 21st April 2011 04:16 PM
Why 'Friday' just might be the future of pop - SFGate

In an exclusive interview with Ark Music Factory cofounder Clarence Jey, Jeff Yang explores why the viral sensation "Friday" could portend a radical shift in the music business Yet in this short span, the video for "Friday," roundly dubbed the "worst pop song in history," has scored more than 110 million views, while sending the Internet spiraling through all five classic Stages of Grief: Denial (OMG is this a joke?); anger (UGH this song sux and it's everywhere! SOMEONE TURN OFF THE INTERNET); bargaining (Oh God, I promise I'll stop mocking Justin Bieber if this Rebecca Black person just goes away); depression (popular music as we know it is dead); and finally, acceptance OK to be honest it's kinda catchy. [...] Black, meanwhile, has rocketed from obscurity to infamy to, well, a certain kind of superstardom -- she's been interviewed on ABC News and "The Tonight Show" and served as a special correspondent at the Nick "Kids Choice" Awards; announced a world tour that kicks off in Australia; and yes, signed a "real" record deal with Interscope. [...] stripped of its classically bad lyrics and unintentionally hilarious video, or when consumed in the standard mode of its target audience -- as half-heard background music while IM'ing -- it's no more horrible than the standard tweenpop fare one is subjected to on Radio Disney. Which not only explains why the tune has transcended Internet meme mockery to become a top-20 download on iTunes and top-40 single on the antiquated Billboard pop charts -- yes, people are paying to listen to "Friday" -- it also points to the brilliance of the Ark business model. For a single low price, Ark provides a one-stop, professionally produced song-and-music video package, and access to an online social network, built on the turnkey service Ning, to distribute and market the results. In the traditional music industry model, every artist is an investment requiring years of development and sunk costs. [...] with the music industry in dire straits, labels have largely cut back on A&R, trying instead to prop up aging talent, or seeking out me-too stars whose success rests on market research and crossed fingers. Ultimately, Jey came to the conclusion that perfect pop music isn't about depth, poetry or content; it's "whatever makes you feel good," he says. The concept was simple: A pay-to-play service to outfit young idol wannabes with the basic trappings of pop stardom -- while also building a roster of artists with a similar look, feel and target demo. Within months of its mid-2010 unveiling, Ark was being besieged by parents seeking to give their hopeful offspring any possible trampoline to pop stardom, no matter how questionable. Given a minimum of ability, a modicum of desire, and the basic trappings of musical stardom, anyone can make their idol fantasies a reality. Though Jey acknowledges the inspiration of Asia's idol farms, Ark's open nature sets it apart from the hit factories of Japan, Korea and Hong Kong, which have stringent audition processes and require their charges to undergo grueling, long-term apprenticeships before getting their shot at the moon. Which is why, despite a cordial relationship that lasted up through the song's transformation into a cultural artifact, Black's mother has since hired lawyers in an attempt to try to pry some of those rights away -- a situation that Jey quite rationally refuses to comment on until it's fully resolved. Ark's success is currently dependent on Jey's prolific ability to, in his words, "crank out" pop songs; he's written the music (and Wilson, the lyrics) for all of the company's releases to date. Offer prospects the opportunity to purchase from a sliding scale of Insta-Idol packages, from which you take a cut, with the rest going to the various creatives who provide the actual services. Let clients pick their songs and collaborators from pull-down menus of options based on the level of package they've purchased; keep your focus on filling the pipeline with prospects while building and aggregating an audience that actively participates in the hitmaking process -- offering advice and support to "their" preferred stars, upranking and evangelizing favorite songs, and extending the overall brand. [...] just in case one of your artists goes Black, keep a few points of the upside. [...] if pop culture survived Men Without Hats, Frankie Goes to Hollywood, Stacy Q and Hanson, it'll take more than a little fun, fun, fun, fun to kill it today.
There is an interesting and in depth article in the SF Gate today about Ark records and their business model. Do you think he is right about the future of the industry?

Why 'Friday' just might be the future of pop
chrisso 20th April 2011 12:28 AM
Everything popular is wrong: Making it in electronic music, despite democratization | Little White Earbuds

Stefan Goldmann on why Web 2.0 can work for you but won't for most, where all the money went and how working against the market consensus can be a winning strategy.
Interesting view from the largely DIY dance music perspective.
Very long I'm afraid, but packed with many home truths (in my opinion).
Interesting upbeat conclusion that what really matters in the future music business will be uniqueness. Of course, being unique is incredibly hard and destined to consign most creative people to the trash bin.
Everything popular is wrong: Making it in electronic music, despite democratization – Little White Earbuds
Whitecat 18th April 2011 04:30 PM
Man who wrote Da-da-da-DA da-DAA - charge! song wants to er, charge for it |

THE man who says he wrote "da-da-da-DA da-DAA - charge!" may be cheering it up himself if he wins a lawsuit claiming loss of royalties.
Man who wrote Da-da-da-DA da-DAA - charge! song wants to er, charge for it |
Dewald_V 18th April 2011 11:57 AM

the Bop Wall

This platform is about: belief, creativity, opportunity and exposure, giving new, unsigned musicians,
artists and technical people involved in the production of film and music a chance to make their mark.

With the education, help and input from local and international expertise in their respective fields,
relevant to the different areas of the RockstarJoint Multimedia Village, this is a recipe that can bring
definite change, hope and results.

The main objective is the concept of creating and developing a recording environment and production company to develop and expose young, unsigned artists / bands, musicians and technical
artists/students at no cost to them. It is all about the development and marketing of music, musicians and technical students / artists.
The BOP Wall | Facebook
systematika 16th April 2011 06:32 AM
open...: Why Google Should Buy the Music Industry

"The fact that this is literally true tells us something that is often overlooked: the music industry is economically quite small and unimportant compared to the computer industry. And yet somehow - through honed lobbying and old boy networks - it wields a disproportionate power that enables it to block innovative ideas that the online world wants to try.

On a rational basis, the music industry's concerns would be dwarfed by those of the computer world, which is not just far larger, but vastly more important in strategic terms. But instead, the former gets to make all kinds of hyperbolic claims about the alleged "damage" inflicted by piracy on its income, even though these simply don't stand up to analysis.

But that throwaway comment also raises another interesting idea: how about if Google *did* buy the music industry? That would solve its licensing problems at a stroke. Of course, the anti-trust authorities around the world would definitely have something to say about this, so it might be necessary to tweak the idea a little.

How about if a consortium of leading Internet companies - Google, Microsoft, Yahoo, Baidu, Amazon etc. - jointly bought the entire music industry, and promised to license its content to anyone on a non-discriminatory basis?

At the very least, the idea ought to send a shiver down the spine of the fat-cats currently running the record labels, and encourage them to stop whining so much just in case they make the thought of firing them all too attractive to the people whose lives they are currently making an utter misery...."

This is said by a wired magazine writer, a proponent of open source. It seems that they're actually killing the music industry and other industries by *choice*. In other words, they're going "this is our world now, you can sod off and if you don't like it we'll buy you out!"

This is not the "thoughts" etc we've been having over the past few months, this is straight from the horses mouth from a credible source in the digital industry.

I will not be reading nor buying ANY Wired magazines in the future.
rack gear 14th April 2011 10:29 PM
Party's Over! Spotify Seriously Limiting Free Usage... - Digital Music News

(1) Users will be limited to 10 hours of free listening a month, instead of 20.

(2) No song can be played more than 5 times without a premium account.
Are these the changes needed to launch in the USA... I wonder...
tribeofenki 14th April 2011 09:18 PM
Books of The Times - ?Appetite for Self-Destruction,? by Steve Knopper - When Labels Fought the Digital, and the Digital Won - Review -

Steve Knopper’s stark accounting of the mistakes major record labels have made in the digital era suggests they are largely responsible for their own demise.
Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age by Steve Knopper is a book that got some honest insights... What do you think about this book?

The music industry is toast, my friends. And congrats to Rolling Stone vet Steve Knopper, whose fantastic new book Appetite for Self-Destruction explains why.” - Village Voice

Q: Is there anything the major labels can do to save themselves?

A: For one, it'd be great if (the Recording Industry Association of America) stopped suing its fans (who illegally download music files) — that would rehab their image a bit. And labels should forget the notion that they're just there to sell CDs, but to sell singles and ringtones and anything else related to what fans of that artist want. So maybe they won't be high on the Billboard chart, but they won't go away. But, to an extent, any of this may be too little, too late. - S.Knopper

Books of The Times - ‘Appetite for Self-Destruction,’ by Steve Knopper - When Labels Fought the Digital, and the Digital Won - Review -

Appetite For Self Destruction - 'Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age' by Steve Knopper - Los Angeles Times

Appetite For Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age by Steve Knopper review | Non-fiction book reviews - Times Online

Arkham00 12th April 2011 03:01 PM
Hi all.

I was wondering if any of you has experience in composing music for theater.
Not strictly speaking of musical or opera, so not a singed song in the middle of the play but more a soundtrack for the play.
i think that to some extent is the same principle of scoring for films, unless you have more freedom.

There's a lot of thread here about film scoring, but i do really prefer theater and moreover the idea to became a "note factory" ( if you had the chances to ) is not appealing to me.

anyway i don't want to start a debate cinema vs theater

I'm more interested in collecting some experiences and advices

I'm currently done with my first experience, and I'm starting a second one.
Music is not my primary job, so I'm not a pro, but I hope to became it.

I have a quite good music training, and a quite vast music knowledge.
i actually work in the IT so no problem at all with computer and technology.

My first project is something completely "amateur", and it is an adaption from an ancient greek comedy ( lysistrata ) so the music is primarily intended to be sung by the "chorus" on stage.
Plus, we decided to add some music for some particular moments. It is mainly orchestral music with mixed influences. (vsl+sibelius+reaper for mixing)

In this case, the author and director is a friend of mine so I had the chance to have an important amount of freedom and anyway the most part of the job was to create songs, in the end not so complicated.

The other project I'm going to start is quite another level, all the people involved have already some experience and their goal is to became pro. I call it a semi-pro project.
It is something written from scratch, and it will be a mix of theater and modern ballet, and also in this case the author and the director is the same person.
I'm less confident with this person, but when, after having red the text, I proposed to her a 2 mins of mock-up, she was so happy about my music that she asked me to go wild with my workflow and bring to her as much music as i could, then she will choose some parts, and will eventually ask me to fix them for her needs or on the contrary she will tailor the scene around the music (this is the way she loves to work, and I find it great)

All this introduction is to say that, until now I've been lucky, and even if I think that composing music for theater gives you more freedom I think that it is not always so simple.

So if anyone of you had similar experience, can you tell me how things are for real ? Am i just living a dream because I'm working with inexperienced directors ?
Once this project finished, which are the things I missed that I need to know for searching other projects ?
I mean, how people work in this field ? How much pain ? :D

Ah btw, I live in Paris where theater is strongly appreciated and the are a lot of young companies out there waiting for my cheap/free music :P but before to proclaim myself as an apprentice theater composer I want to be sure I'm not missing smtg important about how it works
and if you have some books to suggest about the technical part of composing for theater it would be great, you know smtg like rimsky-korsakov principle of orchestration, or shoenberg fundamentals of composition, even more modern of course ! :D

thank you very much
rack gear 10th April 2011 08:29 AM
Record Industry Profits If Napster Never Hit [CHART] - hypebot

For over a decade, US album sales have been racing to the bottom. In the trial brief for their case against LimeWire, the record industry has presented a graph that shows how sales may have fared had Napster never occurred. It's an interesting chart to analyze. Would sales have continued to race to the top or would the video game boom taken away some steam? Given the technological and cultural shifts have happened since Napster, it feels dishonest to say that sales would've just endlessly skyrocketed. There's no doubt that the record industry market would be much healthier today, but...
Record Industry Profits If Napster Never Hit [CHART] - hypebot

rack gear 7th April 2011 11:25 PM

Interesting, and about time. Now if they'd only pay the people who's rights are continually violated... It will be interesting to see how they police/protect their own content, now that they're actually paying for it.

As predicted, the glass ceiling on UGC is starting to reveal itself and tech companies are going to have to pony up some dough if they actually want to get quality professional content.

Netflix Outbids HBO for David Fincher and Kevin Spacey's 'House of Cards' - The Hollywood Reporter
Search Articles

Article Forum v1.9 Copyright by BananaLive