Deezer has expanded its free music offering and announced a new partnership with Samsung. It’s the first time a smartphone manufacturer has teamed with a music streaming service. EU based global music service Deezer has said it will launch in the U.S. this year. Along with free unlimited on-demand access on desktop and tablet, Deezer’s new features include:
Flow - a free personalized mobile radio service based on the user’s music library.
Playlist Radio - takes the users favorite playlists and combines them with recommendations from editors to create a radio station focused on music discovery. It’s free with advertising for unlimited on mobile.
Deezer for Mac (Beta) - merge existing music collection with Deezer. Regardless of the file format, the users personal music library is automatically synchronized with Deezer.
Deezer is also launching a new European partnership with Samsung. The deal offers Samsung customers six months of Deezer’s Premium+ service free when they purchase a Samsung smartphones or tablets. The partnership marks the first time Samsung has teamed up a music streaming service.
ARTISTS / LABELS: Distribute your music to Deezer with ONErpm for free! Get started HERE!
Music streaming service Spotify is taking another step forward in Asia after it officially launched in the Philippines yesterday on mobile devices, the desktop and the Web. The service first entered Asia in April last year when it arrived in Hong Kong, Malaysia and Singapore.
Spotify’s latest market launch comes after it started offering a free, shuffle-based version of its music streaming service on iOS and Android. We previously noted that the stronger push towards mobile is something that will benefit the company particularly in Asia, and it is taking aggressive moves to make sure that it appeals to users in the region — via attractive pricing and deals with carriers.
In the Philippines, Spotify Premium costs only PHP129 (~$3) a month, which greatly magnifies its potential reach. Premium version is ad-free on mobile and desktop, and includes offline playback. For comparison, a Premium subscription in the US costs $9.99 — though a recent deal for college students has seen the price lowered to $4.99. In Malaysia, it costs RM14.90 ($4.60).
To further attract users in the Philippines, Spotify has inked a deal with carrier Globe Telecom to offer all 38 million Globe Postpaid, Globe Prepaid and Tattoo-on-the-Go Prepaid subscribers free access to Spotify through the telco’s new data plan, GoSURF — which would cost as low as PHP10 ($0.20) per day. The deal is rolling out on April 13.
Spotify has over 24 million active users and more than 6 million paying subscribers globally, and its aggressive moves in Asia could be a gamechanger indeed. In the Philippines, Spotify competes with Deezer, which announced a tie-up with carrier Smart just last month.
ARTISTS / LABELS: Distribute your music to Spotify and beyond with ONErpm! Get started here!
In the past, money was a huge barrier for musicians, and one of the main reasons many were forced to tie themselves to a record label. Today, many musicians are finding their own ways to creatively fund their albums and tours, with the most popular option being crowdfunding. Crowdfunding is a huge undertaking, but, if done correctly, you can come out of it with a whole lot more than just money. It also presents dedicated and creative artists a chance to connect with their fans in a whole new way.
Learn how to run a successful crowdfunding campaign with these 5 tips:
1. It takes a crowd.
I think a lot of people mistake crowdfunding for an endless well of money, but, the sky is not the limit. The amount of money you can raise is entirely dependant on the size of your fan base – your crowd. Generally, the more fans you have the more money you will be able to raise, although there are other variables like fan dedication and income level. Amanda Palmer was able to raise upwards of a million because she has a huge, dedicated fanbase with spare cash to throw around. Pretty much the perfect scenario.
There’s no way to tell exactly how dedicated your fans are and how much money they would be willing to donate, but you can look at some figures to get a better idea. Look at how many people you have on your email list, how many people come to your shows, and how many people you have following you on social media. Don’t assume that every one of your fans will donate – even the most amazing musician in the world couldn’t accomplish that.
All the rage, at least with regards to income from digital music distribution, has been centered around YouTube monetization. However, the problem is that many artists are misinformed on even the basic strategy about obtaining more views and subscribers, which ultimately leads to more income.
We stumbled upon a very informative case study from Flight Drummers on how they were able to build their YouTube subscriber base and capture 500,000+ views in a 10 month time frame.
Check out the entire article below and see if you can adapt some of their strategy to help improve your results!
As an avid marketing blog reader, my inbox and Feedly are constantly filled with fantastic marketing techniques on Google+, Twitter, and Facebook.
Although I use these social media sites heavily, I’d like to bring in another extremely powerful (often overlooked) marketing platform to the table—YouTube.
At the beginning of 2013, my business partner and I decided to attempt a different marketing tactic for our (slow) growing drumming education company, Flight Drummers.
We constantly used Facebook and Twitter as our prime marketing resources, but it was soon apparent that the dream wouldn’t last long if we didn’t pick up more traffic or make more sales.
That month, we studied our competition hard and realized that Youtube was a rare marketing commodity in the drumming industry. Sure, a majority of drumming education companies had Youtube channels, but the view count, subscriber count, and interaction was minimal.
Seeing as this was a difficult marketing strategy for competition in our niche, we decided to capitalize on their weakness by filming some Youtube videos.
The following month, we geared up, filmed, edited nearly 70 videos, and began harnessing the true power of Youtube.
Within three months, we had accumulated more than 100,000 Youtube views with 1,800 subscribers, and by month 10, had generated 500,000+ views, accumulated a Youtube subscriber base of more than 8,400 people, and established paid members in 14 countries—primarily through Youtube.
Despite our current success with Youtube marketing, it wasn’t until we began following these eight steps, that we began to experience 2,000-3,000 views per day (5,000-7,000 views on release days) and a highly interactive subscriber base.
One of the best ways to grow is to look at what’s worked for other indie musicians and adapt it to your own career. Here are 5 great strategies with real examples to get you going. A lot of musicians think they can’t start making strategies to move their career forward until they’re making money, until they take some business classes, or until they get a manager. The coolest thing about these strategies is that you can start using them TODAY.
1. Make a Plan from the Start
Making a great plan is one of the best ways to get to that music success you deserve. Not only do concrete goals give you something to aim for, they also help you decide what your first step should be.
Try to make your goals as specific as possible. Instead of saying “I want to be rich and famous,” try something specific like “I want to be able to be a full time musician with a yearly salary of at least $75,000 and be able to tour outside my home state.” Break down your lofty goal into smaller tasks like “gather contact information for local venues,” “contact 5 venues this week,” and “connect with another band to share a gig.” Suddenly finding a way to reach that goal becomes more manageable.
In the good old days of digital music — say, five or six years ago — high-tech talent scouting by record labels meant trawling MySpace for hot new bands. Labels still hunt for acts online, but the pools of data they consult have become much more vast, and access to them highly competitive.
On Wednesday, the Warner Music Group, the company behind Bruno Mars, Wiz Khalifa and the Red Hot Chili Peppers, will announce a deal with the music app Shazam that will create a label imprint for new artists who are discovered through Shazam.
Shazam, used by more than 88 million people worldwide, identifies songs playing on the radio, on television or at a nightclub. According to the company, it is used about 500 million times each month to identify, or “tag,” an audio signal, which each year leads to more than $300 million in download sales.
The deal would let Warner executives use Shazam’s data to see what songs are catching on and where — potential signs of a breakout hit. Warner could use this data to sign new artists to a special Shazam imprint, and market them with Shazam’s help. Specific terms of the deal were not disclosed.
“There’s so much information that we’ve never had before as an industry, and Shazam is at the forefront of that,” said Rob Wiesenthal, chief operating officer of Warner Music. “When a consumer hears something he or she likes and holds up their phone, that enables us to learn more about the likes and dislikes of fans.”
Rich Riley, Shazam’s chief executive, said that big hits represent “a relatively small percentage” of the music tagged on the app, and that it is often used for songs by unsigned artists — the acts that Warner will be most interested in.
For Shazam, the Warner partnership is also an opportunity to move beyond its “name that tune” function and become more of a conduit for various forms of content. Last November, the company struck a deal with the media-services agency Mindshare to make it easier for advertisers to incorporate Shazam in campaigns.
“We want it to be the place you go for lyrics, the place you go to see video, the place you go to engage around a particular artist,” Mr. Riley said. “This is a big step in that direction.”
For the music industry, data is the new gold. A number of music companies have struck deals recently to help them comb through the noise of social media to see the early flickers of hits. Twitter is working with 300, a new company led by Lyor Cohen, Warner Music’s former head of recorded music, and last month Gracenote and Next Big Sound, two music data specialists, said they would work together to develop a customizable Internet radio app.
But whether all this data can lead to more hits is unclear. Jim Lucchese, the chief executive of the Echo Nest, a music data company that works with Spotify, Sirius XM and others but was not involved with the Warner-Shazam deal, said that the challenge is not so much getting access to information as having the expertise to interpret it.
“The massive amount of data that’s available is incredibly exciting,” Mr. Lucchese said. “The reality is that there is a scarcity of people out there who really know how to make sense of it.”
ARTISTS / LABELS: Get your music on Shazam now with ONErpm! Click HERE to get started.
In the past 14 years, music industry revenues plummeted from $14.3 billion to $7 billion. People listen to more music than ever, but they do it on platforms like Spotify and Pandora, which pay artists fractions of pennies per play. Things aren’t much better on YouTube, where ad revenues for creators continues to fluctuate. With little monetary incentive, some worry that musicians will simply stop creating altogether. Talking Heads lead singer David Byrne went so far to say, “The Internet will suck all creative content out of the world.”
Is the state of affairs for musicians really so dire?
Not according to Pomplamoose singer Jack Conte. Last year with $2.1 million in funding, he launched Patreon, a platform where musicians, writers, cartoonists and other creators can solicit donations for their work. What makes Patreon a little different than Kickstarter and Indiegogo is that users subscribe to creators, paying them monthly for as long as they wish. Creators can offer small rewards for donations, but the focus is less on rewards and more on supporting artists for its own sake.
An intriguing new music discovery app has popped up on Apple’s App Store. It’s called Rewind Radio, and pitches itself as “the world’s first radio time machine” while promising that “music rediscovery is possible”.
The app, which we’ve been playing with this morning, prompts you to choose a decade, a year, or a season (e.g. Winter 1987) and then play music from that period, saving tracks as ‘moments’ for later access.
The caveat is that the music comes in the form of 30-second samples rather than full tracks, with a shopping-cart button to buy them from Apple’s iTunes Store. However, Rewind Radio also has a ‘Listen to Full Songs’ button, which prompts users to enter their Rdio login to stream full tracks via that service.
It’s thus the latest app to be built on Rdio’s platform, with that company competing with Spotify and Deezer to build an ecosystem of mobile app developers. The app is slick, social features are built in too, and the nostalgia angle isn’t one that’s been over-mined by discovery apps in recent times, so feels quite fresh.
Can it cut through the App Store clutter to find an audience, and then find a successful business model? That’s a challenge, as it is for all music apps, so we’ll watch Rewind Radio’s progress carefully.
Source: Musically (by Stuart Dredge)
We’re gonna tell you a lot of things that you might not want to hear (especially if you’re doing or NOT doing some of these items). A lot of mags and industry professionals (mostly those who want your money) don’t want to hurt your feelings, so they patronize you and talk to you like children when it comes to these things. I’ve seen some God-awful, condescending nonsense in print when it comes to career advice for musicians.
We respect you more than that. We think you’re adults (for the most part) who can handle a dose of reality every now and again if it means making some positive changes in how you conduct your business. And if your band isn’t a business, maybe you should re-think seeking out press in the first place.
A healthy majority of these list items come from discussions we’ve had with editors and journalists from around the country, and some of them are our own pet peeves. Take everything with a grain of salt, if you must. We’re just telling it like it is, giving you a peek behind the curtain.
OK, no more preamble, no sugarcoating, no bullshit. Here (in no particular order) are about two-dozen plus reasons why your band isn’t getting anywhere with press. So, if you’re ready for some harsh truths, read on. We start with…
1. You look, sound or act like the ass-clowns in Brokencyde. See Exhibit A below.