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Sophic 22nd April 2009 07:37 PM
Quote:
Study Finds Pirates Buy 10x More Music Online than Non-Pirates - ThisIs50.com



A study from the BI Norwegian School of Management has found that those who download free music from services like BitTorrent are also the biggest legitimate…
Didn't see it posted...what do you think? this was posted on another forum i post at.

Study Finds Pirates Buy 10x More Music Online than Non-Pirates - ThisIs50.com : IF IT'S HOT IT'S HERE!

Quote:
A study from the BI Norwegian School of Management has found that those who download free music from services like BitTorrent are also the biggest legitimate consumers of downloadable music.

In fact, among all 1,901 study participants (all of whom were over the age of 15), it was found that those who downloaded "free" music were 10x more likely to download pay music. In other words, music pirates are the music industry's largest online consumers.

Note: "Free" music obviously implies pirated music, but it also encompasses legitimate free music download services.

The findings also included that, in the 15-20 age range, 50% of participants had bought a CD in the last six months. So that trusty format isn't dead quite yet.

rack gear 22nd April 2009 05:12 PM
Quote:
RIAA drops lawsuits; ISPs to battle file sharing | Internet & Media - CNET News

[img]/i/bto/20081219/Music_270x202.jpg[/img]

The recording industry has decided to stop suing customers and has instead decided to make deals with ISPs to help thwart file sharing. Read this blog post by Greg Sandoval on Internet & Media.


Copy of RIAA's new enforcement notice to ISPs

The recording industry dropped some big news Friday, announcing that it will no longer take a broad approach to litigating against alleged filed sharers. The Recording Industry Association of America has enlisted the help of internet service providers to act as a sentry and help discourage customers from pirating music.

Below is a copy of the form letter the RIAA will send to ISPs to inform them one of their customers is accused of file sharing. The notification is similar to those the group has sent to college campuses for years and shows very clearly that the group retains the right to sue people for copyright violations.

VIA EMAIL
*ISP*
*Date*

Sir or Madam:
I am contacting you on behalf of the Recording Industry Association of America, Inc. (RIAA) and its member music companies. The RIAA is a trade association whose member companies create, manufacture, and distribute approximately ninety (90) percent of all legitimate music sold in the United States.

We believe a user on your network is offering an infringing sound recording for download through a peer to peer application. We have attached below the details of the infringing activity.

We have a good faith belief that this activity is not authorized by the copyright owner, its agent, or the law. We are asking for your immediate assistance in stopping this illegal activity. Specifically, we respectfully request that you remove or disable access to the unauthorized music.

We believe it is in everyone's interest for music consumers to be better educated about the copyright law and ways to legally enjoy music online. The major record companies have actively licensed their music to dozens of innovative services where fans can go to listen to and/or purchase their favorite songs. A list of many of these services is available at MusicUnited.org.

It should be made clear by this letter that downloading and distributing copyrighted songs via peer to peer networks is not an anonymous activity. Not only is distributing copyrighted works on a peer to peer network a public activity visible by other users on that network, an historic 2005 U.S. Supreme Court decision affirmed the unmistakable unlawfulness of uploading and downloading copyrighted works. The website MusicUnited.org contains valuable information about what is legal and what is not when it comes to copying music. In addition to taking steps to notify the network user at issue about the illegal nature of his/her activity, we strongly encourage you to refer him/her to this helpful site.

Please bear in mind that this letter serves as an official notice to you that this network user may be liable for the illegal activity occurring on your network. This letter does not constitute a waiver of our members' rights to recover or claim relief for damages incurred by this illegal activity, nor does it waive the right to bring legal action against the user at issue for engaging in music theft. We assert that the information in this notice is accurate, based upon the data available to us. Under penalty of perjury, we submit that the RIAA is authorized to act on behalf of its member companies in matters involving the infringement of their sound recordings, including enforcing their copyrights and common law rights on the Internet.

Thank you in advance for your prompt assistance in this matter. If you have any questions, please feel free to contact me via e-mail at [email protected], via telephone at *Phone Number*, or via mail at RIAA, 1025 F Street, NW, 10th Floor, Washington, D.C., 20004. Please reference *Case ID* in any response or communication regarding this matter.

Sincerely,

RIAA

List of infringing content
------------------------------
*Infringing Content*
-------------------------
INFRINGEMENT DETAIL
-------------------
Infringing Work : XXXXXX
Filename : XXXXXX
First found (UTC): XXXXXX
Last found (UTC): XXXXXX
Filesize : XXXXXX
IP Address: XXX.XXX.XXX.XXX
IP Port: XXXXX
Network: XXXXXX
Protocol: XXXXXX
spaceman 22nd April 2009 02:32 PM
Quote:
BitTorrent Trackers Close En Masse After Pirate Bay Verdict | TorrentFreak



Several private BitTorrent trackers including Nordicbits, Powerbits, Piratebits, MP3nerds and Wolfbits, have closed down after the Pirate Bay verdict came in last Friday. Other trackers are set to follow this example in what could be the greatest voluntary tracker collapse ever.
BitTorrent Trackers Close En Masse After Pirate Bay Verdict | TorrentFreak

Quote:
Several private BitTorrent trackers including Nordicbits, Powerbits, Piratebits, MP3nerds and Wolfbits, have closed down after the Pirate Bay verdict came in last Friday. Other trackers are set to follow this example in what could be the greatest voluntary tracker collapse ever.
So it seems that it's working even better than we thought !
Soulbrother 21st April 2009 03:51 PM
Quote:
A nice summation of the whole Pirate Bay debate, and piracy in general:

The Sick Bag

Any thoughts?
XHipHop 21st April 2009 09:36 AM
Quote:




Off-topic, but relevant...

Digital Millennium Copyright Act - Wikipedia, the free encyclopedia

Time for a re-write. It's insane that it still exists as it was first written.
Daedalus77 21st April 2009 04:16 AM
Quote:
I believe in property, especially intellectual property. And I agree this is a contentious issue. But I also believe that this debate is not a simply dichotomy between those believing in property rights and "pirates" who do not.

I'd propose checking out the work of Stanford law professor Lawrence Lessig, who has written eloquently on this issue in several books and is the founder of Creative Commons, an organization (and concept) that offers a particularly compelling "alternative" to a simplistic understanding of intellectual property rights in the digital age.

Check out his site: Lessig.org

And take a look at his publications, especially Free Culture (2004) and Remix (2008).

Worthwhile reading on this subject.
lhm1138 20th April 2009 07:38 PM
More asshattery from the ButtPirateBay:

> Dear Frederik,

It's spelled "Fredrik".

> We would refer you to our notification of yesterday's date regarding
> the above, the contents of which are self-explanatory (hereinafter
> referred to as the "Notification"), to which we have yet to receive
> the courtesy of a response.

We would like to refer you to our Legal Threats section, on which we,
while having much fun, ridicule people like you.
Thank you for your contribution.

-----------

>IMMEDIATELY REMOVE ALL TORRENT FILES OF BILLY CORGAN's >UNRELEASED =
MATERIAL PLANNED FOR RELEASE ON WARNER BROS. RECORDS, INC. THE =
>FOLLOWING LINK AND ALL BILLY CORGAN DOWNLOADS MUST BE >COMPLETELY = REMOVED:

Sorry, but I can't remove search.php - our users would get upset if TPB
suddenly lacked a search function.
The problem here seems to be that the material is unreleased? If that is
the case, you can easily fix the problem by releasing it. We'll be more
than glad to help you distribute it - free of charge! - to our users.
--------------
>To whom it may concern:

>I am writing to you as the legal representative of Rabbit Valley
>Comics®. Rabbit Valley® owns the copyright of all the published works
>under the Another Rabco Disaster® trademark. I hereby notify you that
>you are hosting material (published via a bittorrent tracker) which
>infringes on our copyrights.

>The address of the website is

Dear Mr Rabbitt, (Why the extra T? Afraid of furry-jokes when paying
with your credit card? Or does the rabbit suit give you away?)

Even though we deeply respect and acknowledge your "intellectual"
property, we fail to see how an interpretation of the said directives
makes them applicable in this case.
NONE of the copyrighted data in question is published or ever stored on
our servers. Nor is any of the copyrighted data relayed through our
servers. The tracker merely provides .torrent files.
As to this day this activity is not prohibited by Swedish law and it's
our assessment that not even a wide interpretation of the E-commerce
directives makes them applicable to torrent trackers. Out activities
will therefore continue until this fact changes or Hell freezes over.
--------------


Lots more here:

The Pirate Bay - The world's largest BitTorrent tracker

Witness the sheer disdain for people simply trying to protect their IP and the manner in which it's distributed.
qtuner 20th April 2009 07:24 PM
Quote:




Gizmodo - Study Finds Pirates Buy 10x More Music Online than Non-Pirates - Music piracy

the article:

A study from the BI Norwegian School of Management has found that those who download free music from services like BitTorrent are also the biggest legitimate consumers of downloadable music.

In fact, among all 1,901 (global?) study participants (all of whom were over the age of 15), it was found that those who downloaded "free" music were 10x more likely to download pay music. In other words, music pirates are the music industry's largest online consumers.

Note: "Free" music obviously implies pirated music, but it also encompasses legitimate free music download services.

The findings also included that, in the 15-20 age range, 50% of participants had bought a CD in the last six months. So that trusty format isn't dead quite yet.

Since we relied on Google's translation from the original Norwegian, anyone who speaks the language is encouraged to glean for more specifics and post them in the comments. [Survey and pThanks Jon!]

If this true, the people are calling for jail time for their biggest deamographic. What a pickle this puts you guys in assuming it is true.
XHipHop 19th April 2009 08:54 AM
Support Online Piracy | Adbusters Culturejammer Headquarters

Thoughts? Lots of interesting comments in response to this. READ THE COMMENTS!

Savernake 27th March 2009 04:17 PM
Quote:
Last.fm struggles for streaming, international revenue | Ars Technica



Last.fm is struggling to generate revenue in some parts of the world, so a …
From Last.fm struggles for streaming, international revenue - Ars Technica

Quote:
Music streaming community Last.fm has made some important changes to its services with the intention of generating revenue. The struggling ad market has forced the CBS subsidiary to require subscriptions in many international markets, and streaming to third-party apps is now being restricted to subscribers. The honeymoon of "free" streaming music appears to be ending.

As announced on Last.fm's blog, the company will soon require most international users to purchase a monthly subscription to use Last.fm Radio. Users in the US, UK, and Germany are excluded, but all others will need to begin paying €3.00 per month on Monday, March 30 if they hope to keep rocking out. Last.fm boasts a global user base of 30 million monthly users (double what it was just a year ago) and, as you might guess, many of them have already expressed dissatisfaction over no longer having free access to the company's seven million tracks.

Last.fm used its forums to let users know that the company is also changing the rules for third-party streaming apps. First, only subscribers will be able to stream music via these apps unless developers negotiate something directly with Last.fm. The obvious justification for this rule is that the company "need[s] to get the money to cover royalties," the forum post reads.

The second new rule for third-party apps is that they will not be able to stream to mobile phones or, perhaps more accurately in this 21st-century gadget landscape, over cellular networks. Last.fm blames this on limitations in its licensing agreements, though it may be able to "make an exception" if developers plead their case. But, unless those developers act fast, unofficial apps for Windows Mobile, Symbian, and BlackBerry will stop working next week. Last.fm's official clients for iPhone and Android will reportedly continue to work without requiring a subscription.

Third-party apps that allow users to "scrobble" (or share, in mundane English) information with Last.fm about music played in various media players will "always be free," and this is no surprise. Collecting information about community and user behavior is a business model in and of itself for companies like Last.fm.

Naturally, all manner of complaints have been lodged in the comment threads, with many saying that Last.fm has sold out and willingly destroyed "thousands of free development hours." On the road to generating revenue out of a "free" service, though, these bridges sometimes need to get burned. Since CBS acquired Last.fm for $280 million in 2007, it has been looking for a way to boost the music streaming community's profitability. In December, 20 percent of Last.fm's staff was let go. While the company does not elaborate how its users are distributed, its US and UK operations are presumably still generating enough revenue (via ads and optional subscriptions) to avoid imposing this requirement—at least for now.

Licensing seven million tracks is no small financial feat. Even Pandora, a streaming music competitor, took a page from traditional radio's book in January this year and introduced ads that run in between songs. All things considered, it may simply be time for costly Web services to start exploring other business models more aggressively.

audiovisceral 16th March 2009 03:49 PM
Quote:
French anti-P2P law toughest in the world | Ars Technica



France's long talked-out law to kick repeat copyright infringers off the …
French anti-P2P law toughest in the world - Ars Technica

I 'm really liking the sound of this. 1984 conspiracy types be damned, I think this type of regulation would do wonders for legal downloading sales.

Quote:
The French attempt to pass the world's toughest "graduated response" law against P2P file-sharers has been en ****** for months. But the negotiations are finally over, the "Création et Internet" bill has been drafted, and today it finally came up before the National Assembly for debate. Despite furious opposition, the bill could well pass soon, laying down severe penalties for "not securing one's Internet connection" and forcing public WiFi operators to allow access only to a "white list" of acceptable sites. And all this for one industry.
[h3]Liberté, égalité, fraternité... HADOPI?[/h3]
The French law goes by many names. Officially called "Création et Internet," it is also known as the "Loi Olivennes" after Denis Olivennes, the head of French electronics giant FNAC. Olivennes headed the group that came up with the plan, which will be implemented by a new group called HADOPI—which is why the bill is also known as HADOPI.

But whatever one calls it, the principles remain the same. When ISPs are notified about alleged file-sharing, they first send an e-mail to the customer involved. The second time, the customer gets a registered letter. The third time, the customer gets booted off the 'Net for three months to a year. (A HADOPI blacklist will apparently keep blocked users from simply switching ISPs.)

In return, French DVDs will appear a couple of months closer to their theatrical release date and music and movie groups will have to drop much of their DRM.

Global music trade group IFPI thinks this is a wonderful trade-off. CEO John Kennedy, last seen testifying at The Pirate Bay trial in Sweden, said today that "our future, like that of the film industry and other media depends on whether we can sustain a legitimate business in an environment that has been swamped by unauthorised free music. Over the last two years the French government has led the way in addressing this critical challenge. It has recognised that involving ISPs in addressing the massive flow of infringing content on their networks is not only essential to protect the rights of creators and producers, but can provide a sensible and proportionate solution that will work effectively in practice."

Critics aren't convinced. Those critics include the European Parliament, which last year twice expressed its displeasure with such schemes on the ground that the punishment was grossly disproportionate to the crime and that only judges should be allowed to order such disconnections. That has not dissuaded the Sarkozy government, which has continued to push the idea hard.
The toughest in tout le monde

It wouldn't be too much to say that the world is watching. Although Agence-France Presse said today in an article that "the new law would make France the fourth country, after the United States, Ireland and Italy, to cut off web access for illegal downloaders," the reality is that no countries currently have such a national policy in place. In the US, only "discussions" have been announced, and those are voluntary; in Ireland, a single ISP has voluntarily agreed to adopt graduated response principles; and Italy's parliament has simply agreed to follow the French model at some point in the future.

The UK, which is considering graduated response legislation, has already taken "Internet disconnection" off the table as a potential penalty. New Zealand, which has actually passed a law requiring ISPs to boot repeat copyright infringers off the 'Net, has delayed implementation after a public outcry.

But even if the New Zealand law does go into effect before the French, the French law is much stricter. For instance, "Création et Internet" requires home Internet users to install certain approved security software and to secure their networks. The old "I had an open WiFi network and someone across the hall probably logged on and downloaded all those episodes of The Office" won't work; while that may be what happened, the law tries to avoid such controversies by simply making each Internet subscriber responsible for what happens on their connection.

One obvious retort is that people will simply slip down the boulevard to the café for a cup of overpriced espresso, a waiter with bad case of ennui, and an afternoon of torrenting. But the Law will not be mocked so easily. When French Minister of Culture Christine Albanel answered some parliamentary questions about public WiFi networks, she said that the solution was simple: such hotspots would offer only a "white list" of approved websites.

This sort of "plug every hole in the dike, the consequences be damned!" strategy shows just how far the government is willing to go in order to protect the copyright industries; not even rank censorship is a bridge too far. And the logic of this approach suggests that the current practice of scanning BitTorrent swarms for IP addresses will have to give way to deep packet inspection of Web content as users shift to streaming media, direct download links, and darknets.

"This return to a centralized, state-controlled network is as scary as inapplicable," said Jérémie Zimmermann, co-founder of La Quadrature du Net, a lobby group that works for an open Internet. "Yet, this is emblematic of how a government legislates with the same ignorance and archaism as the entertainment industries that promote the 'graduated response.' They are, like this law, doomed to fail."

Consumer group UFC Que Choisir compared the entire project to France's ill-fated Maginot Line, examples of World War I thinking that were famously bypassed early in World War II by blitzkrieging German panzer units.

Instead, UFC Que Choisir calls for new thinking—in this case, a license fee paid for total access to movies and music. Such a solution is backed by some French artistic groups "et même... par le groupe Warner aux Etats-Unis" (an apparent reference to Warner's Choruss project). The implication is clear: even the music labels can see the future, and this law is straight out of the past.

True or not, however, the bill appears to have a good chance of passing into law, and the European Commission has so far (under French pressure) resisted the European Parliament's efforts to block France from implementing it.

fabricaudio 26th February 2009 05:03 PM
Quote:
FabricAudio



FabricAudio is a post production, recording studio and record label in Athens, Greece
Hello everybody


I started this thread since i don't think there is something similar in the forum (i hope!!!). Anyway i hope i posted in the right place



A little background: I am Nikolas Pamouktsoglou and co-owner with my brother Jordan of Fabricaudio. (fabric audio)

My expertise is Acoustical Engineer and at the moment i am doing a PhD in Sound and Vibration and i am teaching assistant at the University of Southampton in UK.

The design of the acoustics of our studio is a result of a three-persons team (myself, Symeon Delikaris Manias and Dave Rife, as also stated in the website in the team section)


I want some feedback in my idea


Since I am not a sound engineer i am going to look for one but my main idea is not having just one, the control room will be equipped so it can accommodate any sound engineer and it will offer tracking, mixing, mastering and Dolby approved post production on films and trailers.


From what i am aware so far there is big debate if sound engineer schools worth their money and how you can find job after. As many people stated correct, practice is an issue, the more the better.


So in the main course!!!

My idea is to create some kind sound engineer seminars in my studio, probably i will not give a certification with stamps and credentials like the schools.

''The idea of the courses is not just some sound engineer i know and tell him to find young kids and rip them off with private lessons and me getting a percentage of that because he is renting the place from me''

I want to try to keep the cost at low levels (i.e a fee for the sound engineer and and a fee for the studio the hours it is accomodated). This is why i beleve small groups will work better so they can share the cost between them. (i was a teacher in a private school and i know how classes work)


Since the studio i will have professional equipment i am thinking why not use it to spread the word to people who want to learn and become better and maybe in the future i can collaborate with them if they become good.



In terms of engineers, i believe one is not enough, everyone is different and has his own style, opinion and taste. So the more the better at the bottom of the line there will be more knowledge for the students. I am even thinking to bring engineers from abroad for short courses.


I am asking for opinions, probably it is something it is already done from other people, i want to do the same in Greece. I am bored when things are not organised and people take advantage of students (i am still a student...)




p.s: I hope you didnt got bored after reading all this story and you will give me some feedback




Nikolas
Clonkified 18th February 2009 04:34 PM
Quote:




Hello,

I was wondering if anybody had used these professional song critiquing services such as Songwriting with Jason Blume - You CAN Write Hit Songs by Jason Blume or John Braheny (http://www.johnbraheny.com/john/consult.html)?

If so, are they worth it? Do they provide insightful feedback?

Are there similar services for production and mixing?

Thanks,
C
drumzealot 11th February 2009 07:51 PM
Quote:




Here's an interesting article about a local band that solicited donations from their fans to fund their latest recording.

www.dcexaminer.com >> Yeas & Nays - Local band goes guerrilla, raises $35k

More movement to the direct-to-fan model.
skopje 6th February 2009 08:44 PM
Quote:
Keep 120 Minutes on MTV2 Petition



Petition: We, the undersigned, call on MTV to urgently reconsider the cancelling of 120 Minutes from the MTV2...
MTVs 120 minutes taken off air!!!
MTVs 120 minutes taken off air!!!

I have been watching 120 minutes on and off for 20 years. I have found over 50% of my record collection directly or indirectly from watching it.

I can remember seeing the first portishead video when it was first shown. Sonic youth, dead can dance, cocteaus, the knife, jenny wilson,feist, f** buttons, pixies, throwing muses, kristin hersh, crystal castles, gus gus, aphex twin,mazzy star beirut,my bloody valentine and skylarkin.

I could go on but you get the point. This program took huge creative chances and was bever mundane.

It has been the most consistant music programme i have ever discovered. Also totally eclectic, a rap track next to a folk track. 120 minutes sometimes dished me up artists that i felt indifferent towards and slowly revealed their brilliance. In a way the program has shaped my musical pallette

I have never got into radio, i just can't handle the amount of poor tracks you have to listen to to get to one okay song, and also the banality of DJ bantar.

Where do i go to find new music now? I find a lot at gigs, and off peoples blogs, but i need to replace 120 minutes with something. But what?

Also what happens to alternative artists and lables tring to get their videos shown? Where are they going to get their music heard?

What is the impact going to be on alternative music as whole?

When i heard that the show had gone under, my heart sunk. I know its a TV show and not a person, but it had a physical effect on me. Kind of like when one of your favourite musicians passes away.

I've signed up to this petition, but god knows if it will do any good..

Keep 120 Minutes on MTV2 Petition

SKOPJE

SKOPJE on MySpace Music - Free Streaming MP3s, Pictures & Music Videos
Micgiver 24th January 2009 05:23 AM
Quote:
David Abshire | Free Music, Tour Dates, Photos, Videos



David Abshire's official profile including the latest music, albums, songs, music videos and more updates.
Just came across this myspace page.. Im a huge floyd fan and a friend told me to check it out... It so happens that Bill Schnee mixed it and doug sax mastered.

They just dont make music like this anymore :(

the production is amazing and it sounds fantastic. major props to these guys for coming up with a great album....

has anyone else heard this? or know any info about it? where it was tracked and such...


here is the link

David Abshire on MySpace Music - Free Streaming MP3s, Pictures & Music Videos

and his main page where you can listen to the whole album free all th way through

davidabshire.com
Andrew_Chart 19th January 2009 04:15 PM
Quote:
Sounding the wrong note?



Music in the workplace may make the day pass quicker but it's a benefit that can come with a hefty price tag, as some small business owners are starting to find out.
BBC NEWS | Magazine | Sounding the wrong note?

Just thought this may be worthy of some discussion.


On the one hand, the tone of the article seems to me to reinforce the view that consumers of music don't place value on it like they do other similar commodities (TV licence for example?). It also paints the PRS as the big bad evil corporation.

On the other it's never been obvious to me the rules regarding this. I've heard things to the effect of "anywhere that plays live or recorded music to the public requires a PRS licence to do so". I suspect that this is not made clear to many businesses - especially those who are not providing a service centrally based on playing music.

Is there a way the requirements could be made clearer, or would that be seen as overly bureaucratic and pernickety and work against the PRS?

Perhaps there is another way to fund the PRS without concerning the businesses to take action directly? (Tax? shoot me down! )



I would have thought most people involved in creating music commercially would be in support of the PRS? Is the article likely to damage the income of PRS members? Even improve it? Or is it just another trivial pagefiller?

Would appreciate your thoughts
Thanks!
MotifStudios 7th January 2009 03:00 PM
Quote:
Motif Studios | Free Music, Tour Dates, Photos, Videos



Motif Studios's official profile including the latest music, albums, songs, music videos and more updates.
Hi, I had a search on the forum and couldn't find an answer to this question. I want to no how I can get my music to the bigger artists in the States.

I am living in London at the moment, and have produced in the Indian Bhangra Industry with my own album, but this is a very small niche and has no opportunity to excel into greater industries.

I have a link here to my music: MySpace.com - Motif Studios - Slough, UK - Hip Hop / R&B / Electro - www.myspace.com/motifstudios

What can I do? Is there only the networking portion of being able to get to the top, or can a producer do something else? Right now I don't have any contacts what so ever, so I am literally just a walking producer. There must be millions of producers in the world that are not being recognized that could be better than the big time producers.

Any help is appreciated, thanks everyone.

Ajay
Motif Studios
MySpace.com - Motif Studios - Slough, UK - Hip Hop / R&B / Electro - www.myspace.com/motifstudios
Cellotron 2nd January 2009 06:44 PM
Quote:
Music album sales tumble further in 2008 | Reuters



LOS ANGELES (Reuters) - U.S. album sales slid for a seventh time in eight years in 2008 as growth in the digital arena, one of the few bright spots in the ailing music industry, slowed, according to data
From http://www.reuters.com/article/entertainmentNews/idUSTRE4BO0 7O20090101 ->

Quote:
Music album sales tumble further in 2008
Wed Dec 31, 2008 8:02pm EST

By Dean Goodman

LOS ANGELES (Reuters) - U.S. album sales slid for a seventh time in eight years in 2008 as growth in the digital arena, one of the few bright spots in the ailing music industry, slowed, according to data issued on Wednesday.

Total album sales fell 14 percent to 428.4 million units during the 52-week period ended December 28, according to retail data collected by tracking firm Nielsen SoundScan.

This follows a 15 percent drop in 2007, and sets a new low since the firm began monitoring sales in 1991. Sales have plummeted 45 percent from the industry's high-water mark of 785.1 million units in 2000, due largely to Internet piracy and competition from other forms of entertainment such as video games.

This year, the industry also faced an economic recession.

Digital downloads, through online retailers such as Apple Inc's iTunes store, have taken on greater importance to the industry, but the impressive growth of recent years is waning. Digital track sales rose 27 percent to a record 1.07 billion units, but the growth was slower than the 45 percent jump in 2007. Digital album sales rose 32 percent to 65.8 million units, after a 53 percent jump in 2007.

Ringtones are also a major new focus. But purchases of the top 100 mastertone ringers slid 33 percent to 43.8 million units. Only one mastertone broke the 2 million mark -- rapper Lil Wayne's "Lollipop." Last year, three did.

Lil Wayne also took honors for this year's top-selling album, moving 2.9 million copies of "Tha Carter III." Last year's No. 1 album was pop vocalist Josh Groban's "Noel" with 3.7 million copies.

Only three other albums sold more than 2 million copies this year: English rock band Coldplay's "Viva la Vida" and country singer Taylor Swift's "Fearless" each with about 2.1 million, and rocker Kid Rock's 2007 release "Rock'N'Roll Jesus" with 2 million. Last year, eight albums sold more than 2 million copies.

Swift, 19, was the biggest artist of 2008, selling 4 million copies, mostly of "Fearless" and her 2006 self-titled debut. Anglo-Australian rock band AC/DC followed with 3.4 million copies, selling almost as many of their old albums as they did of their first release in more than eight years, "Black Ice," which was No. 5 with 1.9 million copies.

Overall music sales, including albums, singles, music video and digital tracks, rose 10.5 percent to 1.5 billion units, after 14 percent growth in 2007 and a 19 percent jump in 2006.

(Editing by Mohammad Zargham)
Was expecting numbers like this - but if 15% decline rate continues then that means sales will be half of the current levels in only 5 years!

Best regards,
Steve Berson
CDS 10th December 2008 01:35 PM
Quote:
Yahoo! Search - Web Search



The search engine that helps you find exactly what you're looking for. Find the most relevant information, video, images, and answers from all across the Web.
This is a great story I ran across while reading my morning web:

Old college buddies offered record contract after viral video
Good Morning Yahoo!
Eddie T. Ellis 3rd December 2008 11:18 PM
Quote:




Hey everyone!

The Official Eddie T. Ellis myspace is launched! Let me know what you think and any changes needed.

Eddie

MySpace.com - Eddie T. Ellis - Detroit, Michigan - Rock / Pop / Blues - www.myspace.com/eddietellis
General Forum 22nd November 2008 03:09 PM
Quote:
MP3.com - Free music downloads, radio, lyrics, songs, and playlists



Free mp3 downloads. Download songs and play radio; with lyrics, news, bios, photos, music videos, and playlists.
MP3 Music Downloads - Buy MP3 Music Online - Digital Music DownloadsMP3 Music Downloads - MP3.com offers links to legal digital music downloads from a wide variety of services. Buy MP3 music online from your favorite artists ...MP3 Music Downloads - Buy MP3 Music Online - Digital Music Downloads
DreamSound 29th September 2008 11:34 PM
Hi guys,

I've been producing a few artists lately and I think our projects are coming along very well. I started a website to promote them and while working on it I've been visiting other websites alike that promote independent artists. On this other sites (like I've only found lots and lots of low quality music and now I'm afraid my artists won't be able to breakthrough that cloud.

If you have a chance go to our new website: Independent Era and give us some comments on what we could do to set ourselves apart from the rest.

Also, let me know if there are any websites out there with quality independent music that we can go visit. Maybe I'm just looking at the wrong sites.
Clueless 13th September 2008 01:36 PM
Quote:
Peter Gabriel | Gabriel Considers Studio Show For Fans | Contactmusic



Gabriel Considers Studio Show For Fans | Peter Gabriel Is Considering Turning An Upcoming Recording Session At His Real World Studios Into An Intimate Gig After The Incredible String Band Did Just That To Cover The Costs Of A Recent | Contactmusic
According to this source, Peter Gabriel said:
“The Incredible String Band wrote to their fans on their website and sold admission to their recordings… and that gave them the budget to purchase the studio time. They created a mini-economy based on 120 people.”
I have been writing about this very economic model as the one I plan to use in my studio, so am happy to see the likes of Peter Gabriel trying it out. More on my blog...

How many of you think this is a practical model for your work? Are you most constrained by:
  • Lack of bands that can actually play?
  • Lack of space for both bands and fans at the same time?
  • Lack of fans that can afford $100-$500 each for an experience?
  • Lack of reputation as strong as PG/Real World?
  • Other?
  • None of the above--I'm doing it now, or gonna do it soon!

audiovisceral 28th August 2008 02:01 AM
Quote:
More Artists Steer Clear of iTunes - WSJ.com



A growing number of record companies are starting to think Apple's iTunes service is crimping overall sales.
WSJ just put out a potentially very interesting article. Apparently, among other things, a lot of the companies want Apple to charge more than 99 cents per song. Unfortunately, WSJ doesn't sell individual articles so you need an $85 annual subscription to see it. Anyone?

Free Preview - WSJ.com

Quote:
Record Labels Skip Apple's iTunes

By Ethan Smith and Nick Wingfield

Word Count: 1,527 | Companies Featured in This Article: Apple, Warner Music Group, Wal-Mart Stores, Yahoo, Amazon.com

ITunes has been the runaway hit of the music business, selling more than five billion song downloads since it started five years ago. But a growing number of record companies are trying to steer clear of Apple Inc.'s behemoth music store, because they think that in some cases it's crimping overall music sales.

Kid Rock's "Rock 'n Roll Jesus" album was kept off iTunes' virtual shelves. It has nonetheless sold 1.6 million copies in the U.S. since its release last year -- a sizable number for the depressed music industry. Sales of the album have increased in 19 of the ...
Just found the story's being picked up elsewhere:

Quote:
Music Labels Rethink iTunes, Again; Same Old Gripe of Album vs Singles

By Rafat Ali - Wed 27 Aug 2008 05:07 PM PST


This has become the equivalent of first snowfall stories that local TV news stations do every year: this gripe against Apple (NSDQ: AAPL) iTunes has been trotted out every year for the last five years or so, and now WSJ spends tons of words to rehash it again, though with some new twists. This time, like before, the argument is that labels would like to sell the albums as a unit instead of singles, and the new part is that some of them are beginning to bypass the iTunes behemoth distribution machine. Apple insists that labels can’t sell the whole album as a unit, and has also stuck, for the most part, to its 99 cent-per-song philosophy, which labels have fought against. Another gripe: Apple often asks for exclusive sales rights for songs in exchange for prominent placement on its home page.

Now, a new example has emerged that runs counter to the Apple monopoly: Kid Rock’s Rock ‘n Roll Jesus album was kept off iTunes, but managed to sell 1.6 million copies in the U.S. since its release last year, a sizable number in these times for the record industry. Seeing that example, his label Atlantic Records (owned by Warner Music) last week yanked an album by R&B singer Estelle from the iTunes Store, four months after it went on sale there. Warner’s rationale? It called the removal part of a broad range of digital-release strategies “uniquely tailored to each artist and their fan base in an effort to optimize revenues and promote long-term artist development,” the WSJ story quotes.

But this is risky—first, by dissing Apple, and secondly by keeping songs off the biggest music service, users may go off looking for illegal downloads instead. Then there’s the little matter of consumer preference: the majority have shown preference for buying singles than albums.

In any case, trying to develop alternatives to monopoly distribution is always admirable, and indeed, desirable in the long run, but the more pertinent question is: if not iTunes, then what? Wal-Mart (NYSE: WMT) is not feasible for every artist or label, and retail sales is on a declining curve. Amazon+Rhapsody+Napster can maybe have the reach, someday, but not the awareness or promotional value. On the mobile side, operators and Nokia (NYSE: NOK) can put up their hands, but the reality is it is not happening on any scale in U.S., yet. The only other alternative left is working through scaled social networks like MySpace. Maybe MySpace Music, when it launches next month, will be able to become that other big alternative the music industry wants…
Music Labels Rethink iTunes, Again; Same Old Gripe of Album vs Singles | paidContent.org
willerichey 8th August 2008 06:57 PM
Quote:
Warner Music: Music Video Games Must Pay More | News @ Ultimate-Guitar.Com



Warner Music Group Corp said that video game makers will need to pay more to license songs for music-based video games.
Warner Music: Music Video Games Must Pay More | News @ Ultimate-Guitar.Com

Not sure if I took this comment the right way, but it kind of annoyed me.

Isn't the bottomline mentality what got the music industry into this mess?
Deleted bd1be4f 2nd August 2008 01:23 AM
Quote:
Oh, What a Mangled Web We Leave | Cover Story | Nashville Scene



After flirting with fame and fortune, Nashville's most decadent local rockers The Pink Spiders lost a major-label deal and two of the three founding members—so now what?
Read and enjoy the music industry clichés...

Oh, What a Mangled Web We Leave, page 1 - News - Nashville Scene
travisbrown 29th July 2008 06:05 PM
Quote:
Lyle Lovett sells millions, earns nothing | Reuters



DETROIT (Billboard) - Lyle Lovett says he has never made a dime from album sales during his two-decade career, and hopes to rectify that situation when his contract expires.The eclectic country singer
I've always wondered how Lyle Lovett made money off his albums since I figured his roster and production costs must be astronomical.

I saw him the other night here in Vancouver. 22 people on stage (23 when Shawn Colvin came out to do a couple duets). Few really heavy hitters like Russ Kunkel on drums, Viktor Krauss on bass, and Sweet Pea Atkinson/Harry Bowens/Willie Greene Jr. on BGs (oh, and the 8 piece gospel ensemble). The pianist's name slips my mind (not Matt Rolling), but was a world-class player. Makes me wonder how he makes money on tour either. Payroll must be huge.

For all those complaining about not making enough money off album sales:

Lyle Lovett sells millions, earns nothing | Entertainment | Reuters

Lyle Lovett: My Label Must Embrace Technology | Listening Post from Wired.com

But, I'm glad there is someone with talent out there who puts his love for making great music and playing with musicians and friends he obviously admires beyond merely making money. He did infer a couple times during the show that touring is when he gets to reconnect with friends and that he's glad that he's able to do what he loves most. A most humble but exacting artist.
moi 9th July 2008 11:22 PM
Quote:




I recorded an instrumental cover on famous LZ song. I’d like to distribute it as digital download only in the US (I live in Russia). Publisher (Warner/Chapel) said ok on getting license through Harry Fox agency. But as contacted them a problem occurred since I’m not the US resident. Check below the reply from HFA:

-------------------------------------
HFA can only issue licenses for recordings made and distributed in the U.S., or for recordings imported into the U.S. If you are manufacturing your CDs in another country, we suggest you contact the mechanical rights society in that country: [insert correct society and email here].
If you are importing recordings into the U.S., and you have a U.S. address, you will need to obtain an Import Mechanical License. Applications are available on our website at Licensee Digital Import. If you do not live in the U.S., you cannot obtain the import license from HFA. Again, you may wish to affiliate with a U.S. distributor who can license on your behalf.

Note: You can find out the country's mechanical rights association and website at Mechanical Rights Organizations.
-----------------------------------------


Does mentioned above concern only actual CDs, cassettes, etc or mp3 downloads as well? Or I’m considered in my situation as “mp3 importer”?

I have a friend in the US, what if I apply his address for HFA. What problems can that cause? US taxes? Anything else?

Any other advise? Should I emphasize to HFA that I’m not importing anything “physical”, but mp3 downloads?
gsilbers 27th June 2008 06:01 AM
i hope the bill passes fast!

Senate Committee Approving AM-FM Royalty Bill | Threat Level from Wired.com

and finally the RIAA is doing something...

their next move should be charge the tech companies for the money thier getting by
using our content (via piracy or else) for thier hardware products.
ClaySchmitt 17th June 2008 10:41 PM
Quote:




I am looking to move to NYC(sound familiar) and pick up a good assistant job. I have one commercial pop rock album under my belt that I am quite proud of. I acted as producer, recording engineer, mixer and mastering engineer. I also have experience with commercial work, including writing, performing, recording, mixing, mastering, sound design, for a 2 week long, international spot for Mountain Dew.

I figured I would throw up a thread here asking two questions:

1.) Do you work at top studio in NYC that would be able to utilize a very motivated guy holding a degree in sound design?

or

2.) What studios should I be checking out for pop and rock music in the NYC area?

I am very confident in the training and developement of my ears thus far and think that I have a lot to offer. I would love the opportunity to work under master engineers, and I am willing to brew up a mean cup of coffee if I have to. Though I am concerned with being able to earn enough money for a 1 bedroom studio, I am more interested in the experience I would gain at this point.

One thing I will offer is: Because I am not currently in NYC, if you are interested and would like to send me a list of questions I will answer them in a short video and place in on youtube. Ask anything from why do you want this job? to if you were an animal. I don't mind.

Here is a link to my resume. Please ask if you would like to hear the album I just finished or any other samples of my work. I have excellent references as well.

RapidShare: Easy Filehosting

Thanks!
Clay Schmitt
[email protected]
(330)317-1570
Crandak 24th May 2008 09:40 PM
Quote:
Encryption Chip Will End Piracy, Says Atari F - Video Game News, Videos and File Downloads for PC and Console Games at Shacknews.com



At yesterday's Wedbush Morgan Securities conference, Atari founder Nolan Bushnell claimed that a stealth encryption chip will "absolutely stop...
This looks promising although he said that music and movie piracy will continue unabated. Hopefully it's a first step to an integrated chip that will stop music and movie piracy.
theGeek 19th May 2008 02:53 AM
so i've been recording with a Line 6 TonePort UX8 since it came out and I've really been pleased. But now I'm interested in a control surface and i've stumbles across the following:
TASCAM FW1884 FireWire Audio/MIDI Interface and DAW Control Surface and more Sound and Recording Cards / Audio Interfaces at GuitarCenter.com.

or the:
M-AUDIO - ProjectMix I/O - Control Surface with Motorized Faders and 18 x 14 Audio Interface

I'm not hell-bent on making the switch. I'm just curious if anyone has used this product or one like it.

Also, do you recommend keeping my recording interface and controller separate or is an "all in one" system like this good idea.
noiseflaw 15th May 2008 01:19 PM
Quote:
Piracy growing as fewer fans buy downloads | Technology | The Guardian



Record labels are losing the battle against digital piracy as the number of people who download songs legally falls back. By Owen Gibson
Piracy growing as fewer fans buy downloads | Technology | The Guardian

Hmm...

Quote:
Originally Posted by The Byre View Post
I suggest some of you read this report, before commenting -

Apple, Tesco 'most to blame' for music biz crisis | The Register

Sui_City 5th May 2008 10:12 AM
Here we go again.

nin.com [download]- the slip
Gatorgabe 18th April 2008 04:20 PM
Quote:
Rick Rubin’s Favorite Albums of All-Time



Official Gibson site: The favorite albums of Rick Rubin. The Beatles White Album, Neil Young: After the Gold Rush, Black Sabbath: Black Sabbath, AC/DC: Highway to Hell, Run-D.M.C: Run-D.M.C., Gang of Four: Entertainment, The Ramones: Ramones
If you've ever wondered what production God Rick Rubin like album wise, then wonder no more ... I was surfing the net and found this article where he talks about his 10 favorite albums of all time ... I think people will be surprised at his favorites ... check it out ...

Rick Rubin’s Favorite Albums of All-Time
TheRealRoach 28th March 2008 11:47 PM
Quote:
Radiohead | Free Music, Tour Dates, Photos, Videos



Radiohead's official profile including the latest music, albums, songs, music videos and more updates.
Radiohead's newest single "Bodysnatchers" is all over the local alternative rock station in Toronto. After listening to it a few times I noticed a wild similarity between that tune and Pearl Jam's similar offerings such as "Do the Evolution".

Eddie could easily be heard singing Bodysnatchers, and likewise, Tom could pull off Do the Evolution.

I'm a fan of both bands but I never thought i'd find myself comparing the two.
SeanBlack 6th March 2008 05:48 AM
Quote:
Canadian Music Week 2013



Celebrating 31 years, Canadian Music Week is Canada’s leading annual entertainment event dedicated to the expression and growth of the country’s music, media and entertainment industries. Combining four information-intensive conferences; a trade exposition; a film festival; a comedy festival; four awards shows and the nation’s largest New Music Festival – Canadian Music Fest – CMW spans a five-day period from March 20 to March 24, 2013 at the Fairmont Royal York Hotel and over 60 various downtown Toronto venues, attracting participants from across the globe.
Wednesday, Mar 05, 2008
Executives at Canadian Music Week discuss new business landscape

Cassandra Szklarski, THE CANADIAN PRESS

TORONTO - The CD is on death's door. New bands are doomed. So say some industry insiders as the country's new music festival, Canadian Music Week, launches Wednesday with some 500 bands in search of stardom, or at least a steady paycheque.

With record sales declining and unauthorized downloads the norm, making it big isn't what it used to be, says uber-manager Bruce Allen, whose superstar roster includes Michael Buble, Anne Murray and Bryan Adams.
"I would hate to be a young band today, battling," says Allen, who admits he measures success by securing arena-selling tours. "They'll make a living. If that's your goal, to make a living, then good for you. But that ain't my goal."

The days of monster tours could well be over in a couple of decades, he suggests, struggling to come up with a list of contemporary acts that could one day match the ticket sales of the Police, Elton John, the Eagles or Bruce Springsteen.

Allen, who will be presented with an achievement award Wednesday by the Music Managers Forum of Canada, says his biggest struggle has been to wrap his head around the technological changes that have overhauled the music business.

"If somebody had a video camera (at a concert) we used to go out there, take the video camera off him and smash it," he notes.

"Now you can sit there and everybody's got a mobile phone and they're taping the show and this and that and we just let it go now. The biggest thing I think now is content, content, content. It used to be: 'No mystique, big mistake.' I have to try to embrace these carriers and get to a point where I'm not going to freak anymore if the music's out there and I didn't get paid for it."

That means things like getting a professionally shot video to post on the Web, participating in online-only concerts, or releasing special remixes online.

"The record side's tough now," he says.

"Michael Buble's selling five million records in this era. He probably would have been selling 15 million if it was in the '70s and '80s, in the heyday. My style hasn't changed much but my ability to adjust to the new technology and understand it is difficult and I'm really learning all the time."

Nettwerk honcho Terry McBride is often regarded as one of the few music executives at the forefront of the digital wave, most notably by opposing the major label battle to litigate unauthorized music downloads.

The secret to coping with declining CD sales is a little imagination, says McBride, boasting that 60 per cent of Nettwerk's record sales came from digital revenue last year.

"Most of the business is focused upon protecting, to the best of their abilities, old ways of doing things," says McBride, who will be inducted into the Canadian Music Industry Hall of Fame on Thursday as part of the CMW festivities.

"(For us), it sometimes means that we release an album digitally three or four months ahead of releasing it physically and let the music grow enough that when we do release it physically, it actually has a standing chance."
McBride, whose management roster includes such heavyweights as Avril Lavigne, Sarah McLachlan and Barenaked Ladies, says he "absolutely" sees the possibility of one day not even releasing a physical CD at all.

Nettwerk's folk-pop band the Weepies saw 80 per cent of their music sales come through digital sales, he says. The CD sold roughly 25,000 copies.
"At one point don't you release a CD to the statistical regional market and just have it be a sort of mail-order or a sort of print-on-demand situation?" he says.

"We're going to see a major shift within inside the video business where you're not going to have Blockbuster having 50,000 titles. They're going to have a million titles and as you want to buy it or rent it, it'll be custom-burnt right at the front desk."

Little labels are struggling with the changing landscape too, says Sloan guitarist Jay Ferguson, who runs the murderecords with his three bandmates.

The rock band, whose poppy hits "Underwhelmed," "The Good in Everyone," "Money City Maniacs," earned them both college and mainstream followings, started the label in the '90s with releases by acts including the Inbreds, Local Rabbits, Superfriendz and Thrush Hermit.

"Back in the '90s we would send the records to college radio, make some posters and they would go on tour. And back then we would make videos as well, too, which was when MuchMusic still played a lot more videos in rotation," says Ferguson.

Today, one of their main promotional outlets has been small, indie music blogs.

"I literally would just write them and say, 'Hey man, I like your blog.' And sometimes they would write back and say, 'Hey are you Sloan?"' he says laughing. "And I would go, 'Yeah, do you want to hear....?"

But despite all the new avenues for breaking an act, it still comes down to the music, says Ferguson, who hosts a murderecords showcase with his bandmates on Thursday.

"There's still nothing better than seeing a band play live. I think that's the best promotion you can do."

Big-name guests set to take part in CMW shows and seminars this weekend include Bob Lefsetz, Alanis Morissette, Moby, Lowest of the Low, RZA and KRS-One.
-
On the Net: Rogers MusicStore CMW 2008
Joram 3rd March 2008 11:05 PM
Quote:




I'm not really fond of the idols-formula but nevertheless, this finalist deserves a little attention. She is singing a song which will be released sang by the winner, (which she isn't by the way)
YouTube - Nathalie - Hello World - Idols 2008 Finale
Sui_City 3rd March 2008 10:54 PM
I'm suprised there's no thread on this yet.

Ghosts - Splash

So, another new album. Instrumental. 36 Tracks. 4 Parts. First nine songs are officially available through torrents.

So, what now?

I kind of feel like: "Who cares?"

It's like Trent is devaluing his music by releasing so much of it so often. It feels like the rest of the market with just so much stuff available, and the question for me is: How much of it is any good?

Obviously the answer to that is personal.

I don't know. Whatever.

Jules, move this if it needs to be moved.
duvalle 29th February 2008 05:58 PM
Quote:
With a simple fiddle you can top the charts - Technology - smh.com.au



Former music industry insider reveals how simple it is for Australian record companies to manipulate digital music download charts. - The Sydney Morning Herald
A former music industry insider and academic has shown how simple it is for Australian record companies to manipulate charts of top-selling digital music downloads without being caught.

With a simple fiddle you can top the charts - Technology - smh.com.au

dfegad
Joerogers1970 18th February 2008 03:11 PM
The classic get's a video makeover:

J & H Productions: The Short Film - Short Films - SPIKE Powered By IFILM

Now, that's how you get shows. I wonder why they never called?
MJ Heck 14th February 2008 11:13 PM
Quote:
Auto-Tune Abuse



Auto-Tune Abuse: Auto-tune is the reason why the vocals on pop songs sound so fake.
In light of some recent debates around here, I found it fascinating that my wife sent me a link to one of her favorite news/culture sites that had a listing of auto-tune abuses - complete with an audio file and what words to look for.

I'm in the camp that tools are tools that can be used or abused, but I still find it surprising to have this link appear at a non-slutty site. I am also suprised that it was sent to me by my wife - clearly I need to vary my subject matter around the house a little more.

Here is the link if anyone is interested.

Auto-Tune Abuse - Featured on BuzzFeed

MJH
obtainknowledge 9th February 2008 08:27 AM
Quote:




There's a girl rocker by the name of Lennon. That's her actual birth name. She's been doing her thing for about 8 years now, and now Yoko is suing her. That stupid old bag is going to bankrupt this poor girl. Interesting read. Read here:

LENNON :: Damaged Goods

MySpace.com - Lennon - Orlando, Florida - Rock / Metal / Gothic - www.myspace.com/lennon

Court Document:

http://www.johngaltentertainment.com/lennonyoko.pdf
dj_who 5th February 2008 10:36 PM
Quote:
Artists’ best interests? RIAA presses for lower royalties | Ars Technica



The RIAA argues that songwriters deserve even less cash for digital downloads …
Artists' best interests? RIAA presses for lower royalties


BevvyB 1st February 2008 12:46 AM
Quote:
McGuinness Speech In Full | Billboard.biz



The full script of the speech everyone is talking about in Cannes, as made by U2 manager Paul McGuinness at Midem.
The full script of the speech everyone is talking about in Cannes, as made by U2 manager Paul McGuinness at Midem.

McGuinness Speech In Full
pootkao 29th January 2008 09:33 PM
Quote:
Lefsetz Letter



Lefsetz addresses the issues that are at the core of the music business: downloading, copy protection, pricing and the music itself.
A couple weeks ago I signed up for Bob Lefsetz' email-list diatribes about the state of the music industry. I can't get enough! They're cutting, purposeful, informative and hilarious. Figured I'd share one.

Lefsetz Letter

Mike

==========================================


And you wonder why music is in **** shape.


When the problems of the world are blamed on west coast "hippy values" and money is king, you know we've strayed too far from the garden.


Last time I checked, it was these "hippy values" that blew up the music business, 400,000 people went to Woodstock, to get closer to the music. Loggins & Messina even did stadium shows. U2's last stadium tour in the U.S. STIFFED!


Who writes this ****? Could it be that John Kennedy of IFPI has Paul McGuinness' ear? It's like Karl Rove's in charge, let's all get on message, the demon is the ISP!


While debate on net neutrality comes to a standstill in the U.S. Congress, Paul McGuiness and a bunch of MUSIC PEOPLE are going to effect change, get the ISPs to filter content. Well, what about when I e-mail my own composition? Or do I get a tracking number for that too?


Isn't it amazing that an industry based on **** tha police (and the fuzz was hated long before Ice-T freaked out Warner Brothers) now wants MORE policing, would like to BE THE POLICE?


That's what happens when it's more about money than music.


****, U2 moves its business to a tax haven, Bono goes VC and the band hasn't released a great album in fifteen years, since "Achtung Baby". If this is the future, I want NO PART OF IT!


It's got to be about the music. Money always flows from the music. And the more money you make, the more you try to protect it, like a ****ing government, the more you turn off the people giving their hard earned income to you. Can't you at least pay LIP SERVICE TO THE MUSIC?


Haven't you listened to the "thieves"? They thought music was overpriced, that there was too much filler on a CD. Were they wrong and just making excuses for slicing and dicing, taking what they wanted? I don't think so.


But Jay-Z isn't listening to the consumer. He wants to keep the ALBUM alive. The album died with Napster. Cry in your beer about it, protest.... The equation is good music. If you make good music, people will want ALL OF IT! Don't try to make them buy it YOUR way, let them purchase it all, for a reasonable price.


And what is that price? The labels want it to be more than iTunes' 99 cents. ****, it should be lower. Or, we could use the cell phone model. A bucket of tracks for a monthly fee. eMusic is a better business proposition than iTunes, but you won't find major label content on it.


It's been almost nine years, and Paul McGuinness and the old wave ******s STILL want to go back to the past. McGuinness lamenting record company workers losing their jobs... Where was he when U.S. automakers produced ****ty cars and the business went Japanese? I don't see Bono trying to save Chrysler jobs.


Maybe those people DESERVED to lose their jobs. Because they just weren't innovative enough, they were just COASTING!


Music is desirable. People will pay for it if there's a reasonable business model. It's not about policing people back to the past, but enticing them with something easy, that eliminates the DESIRE to steal.


Instead of looking for another person to blame, the music industry has to face reality. That more people want more music, and they don't want to pay 1990s prices for it. Come up with a new business model, sans restrictions. But the ****ers can't even authorize Qtrax, a half-assed walled garden that's incompatible with iPods.


Stop PROTECTING music and figure out a way to make it EASIER FOR PEOPLE TO GET IT!


You didn't hear Osborne complaining that Gates stole his thunder. And the reason that Gates and Jobs were so successful is because they looked to the future, not to the past. How come Macs get cheaper and they do more, yet music gets worse and the people making it want more money? If only U2 put out something as good as OS X every couple of years. That's software. Apple doesn't sell it with DRM. Are the Silicon Valleyites the enemy or the BEACON?


For McGuinness to stand up at MIDEM and spew this invective is laughable, it makes him look like a blowhard. As for those applauding him, now you know why your business is in trouble.


Under the best of circumstances, how long would it take to bring the ISPs to their knees? Eight or ten years? Like they're going to instantly capitulate. Like their users aren't going to jump ship. Like they're not in business themselves. And what is the legal basis for liability? Is it that rock solid? In every country? Hell, it's a worldwide business.


You want to know why the music business is ****ed? Because the iPod is cooler than almost all of the new music sold. It's simple, like "Satisfaction", and it delivers the enjoyment of "Sgt. Pepper", day after day. Look at its VALUES instead of castigating it.


DO NOT FOLLOW PAUL MCGUINNESS! DO NOT WASTE ANOTHER DECADE IN A FUTILE ATTEMPT TO GO BACK TO THE NINETIES! ACCEPT REALITY AND DEAL WITH IT!


Don't shed tears. The broke newbies who are reinventing this business aren't. They're accepting reality. Why is it that when people get rich they forget where they came from and are only interested in protecting what they've got?


I see nothing in McGuinness' speech that reflects the concerns of listeners, of music consumers. Except for a desire for more lossless downloads. But ****, they can buy CDs and rip them. And NOTHING IS PREVENTING THE LABELS FROM SELLING IN THIS FORMAT!


When I listen to a record, I don't think how ****ing rich the artist is. I don't think about the insurance on his ten automobiles, the food for his eleven kids. My mind is stimulated, I think about the good times in life, sometimes even the bad ones. Bittersweet memories indeed.


Music is the most powerful artistic medium. Why do these bozos always have to concentrate on the bread instead of the tunes? Why don't they get in bed with their fans instead of blaming everyone but themselves for the **** shape they're in?


Paul McGuinness just pulled a Metallica here. Another uninformed rich music industryite with no idea how the Internet and technology truly work is only going to end up a sideshow, with egg on his face. Metallica has spent almost a decade trying to come back from the brink. Will it take McGuinness that long? It will take the music business at least that long if they listen to him.


The future is in licensing new ideas. Not complaining. Those technologists are your friends. And the sooner you realize it, the sooner your business will revive.
cardinal 28th January 2008 02:57 PM
Major Labels Allow P2P Music Sharing on Qtrax | Listening Post from Wired.com

After years of fighting peer-to-peer file-sharing companies, the major record labels have decided that if they can't beat them, they might as well join them -- in one case, anyway. At the Midem conference in Cannes, France, Qtrax announced deals with all the major music labels and publishers to offer the first free and legal ad-supported P2P service to include major label music.


"You can't change the attitudes and habits of what is now probably amounting to two generations who believe that music ought to be free on the internet," said Qtrax CEO Allan Klepfisz. "Those people are not going to be discouraged by Supreme Court decisions, they're not going to be discouraged by technological interference. Ultimately, what will discourage them is a demonstratively better service."


Klepfisz pegs the service's catalog at more than 25 million songs, which would dwarf those of iTunes and other online music stores. The songs will be wrapped in Microsoft's Windows Media subscription DRM. This means that unlike the free, ad-supported services offered by imeem and Last.fm, Qtrax's songs can be downloaded onto compatible players. The application is based on the Songbird engine, so sharing and downloading occurs within a Firefox browser -- no separate application required.



As of now, the tracks are not compatible with the Apple iPod, but Klepfisz said that the service would be compatible with iPods before too long -- an indication that Apple could apply the subscription technology developed for iTunes movie rentals to the music market.


To get the industry on board with P2P, Qtrax signed over "the lion's share of revenue" to labels and publishers, paying out on per-download and per-play bases. The site also categorized the music of the world into three lists. One list includes artists who do not permit their music to be made available online in any capacity. "The blacklist is fast disappearing -- my prediction is that in a year, the blacklist won't be in existence," said Klepfisz. The white list consists of the standard digital catalogs from major and indie labels -- the same 5-million-plus songs that are on iTunes.


The gray list constitutes the difference between what's available on iTunes and what's available on BitTorrent. "Then you have the gray list, which is that vast body of stuff that's out there on P2P, where there are rights holders, but the rights holders themselves may not even know that a song is being downloaded frequently.... To the best of our ability, we identify the rights holder and pay them a percentage of the advertising revenue. In the minority of cases where we can't identify a rights holder, we will actually put up the song for claiming, and will reserve the portion of the ad pie until that song is appropriately claimed." As with other free, ad-supported services, revenue comes from advertisers who want to target ads to specific types of listeners.


Advertisers have long understood the power of music to move product, and some have developed specific music strategies for working with new services such as Qtrax, according to Klepfisz. But without the labels' sign-off on this service, a sanctioned P2P service of this size never would have been possible.


With these deals, the labels have demonstrated openness toward revenue streams that deviate from the record-store model.


"This is a tacit acknowledgment that 'bulletproof' wasn't working," said IDC consumer audio analyst Susan Kevorkian. "And it hasn't been working. But it was an experiment the music industry needed to undertake in order to figure out how to address digital distribution. It was a very long learning process, but fortunately there's still the possibility of finding the pot of gold at the end of the rainbow."
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