Thursday, September 20, 2012

Major Label Death Predictions May Be Premature

Profits image from Bobby Owsinski's Music 3.0 music industry blog
Could everyone's predictions about the demise of the major record labels be premature? What we've heard over and over in the press (and sometimes on this blog) is that the major labels were floundering in red ink, about to go belly up any second. While revenue for the industry is less than half of what it was at it's peak, and profits did take a hit for a while, it appears that everyone has missed the point that the labels have been evolving with the business, and they're pretty healthy as a result.

Case in point - according to Billboard, in the first six months of 2012 Universal Music Group, Sony Music and Warner Music Group had together reported profits of $356 million. Yes, that's profits!

Now take into account that EMI doesn't disclose their finances at the moment because they're privately held by CitiBank (at least until the sale to Universal is finalized), and the CEO of BMG Rights Management has said that their profit would be over 250 million Euros this year (about $325 million), and you can see that no one inside the big music corps are worried about their bonuses.

Then the fact that we're heading into the strongest buying season of the year makes analysts think that the major labels will make over $1 billion in profits in total for 2012.

Here's the fact as it stands today - DIY is great for any artist that's either starting out to even a star level, but if you want to break into superstardom, you still need a major. They're the only ones with the infrastructure to take an artist to those heights, at least at the moment.

That said, the more you DIY and the stronger your audience, the greater your bargaining power is. It's almost like there's no middle ground these days when it comes to making a major label deal. Either you're completely at their mercy with a 360 deal or you have all the leverage because you've built an audience without them.

Whatever the case, the major labels are not going away any time soon. Now if only we had a new crop of indies.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Wednesday, September 19, 2012

A Look At Apple's Music Streaming Plans

iTunes logo image
We're learning more and more each day about the planned Pandora-like streaming service planned by Apple (see this post for more info). It appears that Apple is still in discussion with the major labels on the license fee that they'll be paying, which is complicated by the fact that Apple wants to implement some interactive features in the product to distinguish itself from either Pandora or iHeartRadio. This is a complicated issue on so many levels, but suffice it to say that Apple wants to pay the least it can while the labels want the most.

It's been reported that the labels are also demanding a couple of things besides the license fee:
1. A way to refer listeners back to the iTunes Store (like a "Buy" button) to stimulate sales so that the streaming doesn't cannibalize it. I'm sure that Apple would like the same thing, but once this streaming cat is out of the bag there's no reason to own the song any more. In fact, Pandora has the same thing and it's been reported that it hardly throws off any revenue.
2. The ability to program tracks to fit the listener's profile, which they can't do now with Pandora.
2A. There's been some talk of even allowing programming on a geographic basis, which is perfect for an indie artist or band just building an audience.
You can bet that this is going to happen sooner than later despite the fact that Pandora has a huge head start. iTunes has a global customer base of 465 million users, and there are 335 million iPods, iPads and iPhones out there, so their potential reach eclipses everyone else in the market. The problem is, this will be another nail in the downloadable music coffin as consumers get more and more used to renting music instead of buying it.
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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Tuesday, September 18, 2012

Top 20 Most Profitable Merch Pieces

Here's a great chart that comes by way of Digital Music News and merchandise manufacturer Jakprints on the 20 most profitable merch pieces. As you can see, patches and stickers have the largest profit margin, normally costing 20 to 40 cents and selling for $3 to $4, but they're also a great giveaway as they're small, which makes them an ideal promo item. Unfortunately, most artists/bands think of T-shirts first when it comes to merch items, while some of the other items on the chart can be a far better promotion and better revenue source.


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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Monday, September 17, 2012

The New Bronze Music Delivery Format

Bronze Format image from Bobby Owsinski's Music 3.0 blog
I rarely cross-post to this blog from by Big Picture production blog, but I thought that this topic is worth it. It's about a new online music delivery format called Bronze that's pretty interesting. Is it "take over the world" interesting? Probably not, but I think that there will be a place for it in many genres of music in the future.

Why? I'm glad you asked. Bronze is the first format that can alter the mix of a song with each playback. It's non-interactive, so the user has nothing to do with how it's played back, but each listen is different, just like a live performance.

Supposedly the chance of hearing the same version twice is about the same as winning the lottery, and it's not possible to freeze any version to listen to it again. Just like a live performance, once it's gone, it's gone forever. That said, it's possible for an artist to continue to update a song with new tracks long after it's been released. Considering that some of the artist's that I've worked with in the past can never let go of a song, this could certainly cut down their overall output of songs.

Regardless of if you like a song or not, Bronze is probably better suited for some musical genres than others (think electronic music). As a mixer, I'm pretty suspicious of the format, since what we do is to try to freeze a moment in time, but as a consumer, I'm very intrigued. A great mixer can bring certain things to the table that makes it a hit that you might not have in another mix. On the other hand, if you really dig a song, you'd probably want to listen to it over and over to see how it would change every time. That said, that means you'd probably not want to look for new music as much, since the music you already know is somewhat new every time.

That said, as a business, Bronze probably doesn't make much sense. A record label sells a frozen archive as a product, so this wouldn't appeal to them. And legally, how to you copyright a product  that's not a fixed recording?

But the idea of Bronze is pretty cool in that it's a unique use of existing technology. Now let's see if anyone will play along. The first song released in the format is by ex-Golden Silvers frontman Gwilym Gold called "Flesh Freeze." Check it out on the Bronzeformat.com website.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Sunday, September 16, 2012

Even The Boss Has Trouble Selling Tix

Bruce Springsteen image from Bobby Owsinski's Music 3.0 blog
In what may be indicative of the new realities of the music business, it looks like there's some consumer push-back to high concert ticket prices once again. If you remember, this is a trend that began during the recession/depression days of 2008, but last year saw a bit less consumer resistance to the high ticket prices that have become the norm.

A great indicator of this is the fact that even Bruce Springsteen, The Boss himself, has had to discount tickets in order to get a sellout in his own back yard of New Jersey at MetLife Stadium. Bruce's promoter decided to use LivingSocial, a competitor to Groupon, to provide a special $59 ticket to its members (prices were $82). Despite the 28% discount, the offer only drew 65 buyers by the end of the first day.

Bruce isn't the only big act that's having ticket problems though. LivingSocial has also done deals with the Black Eyed Peas and the joint dates by Kenny Chesney and Tim McGraw, and many other acts like Madonna and even Eric Clapton are struggling to sell out.

But if there's one artist who isn't, it's former Pink Floyd bassist Roger Waters, who's "The Wall" tour has grossed over $160 million so far, which is about double of his closest competitor, who happens to be Springsteen.

So what does this mean? First of all, the economy isn't great and it's a real struggle to pay for a concert. With the average ticket going for around 60 bucks, it can easily double after the "convenience charges," parking, and beverages are added. What would you do if given the choice of putting gas in your car to go to work or buying a concert ticket?

The next thing is overexposure. Most acts make all of their money on the road, so if they want the revenue to continue, they better keep working. The problem is that you just can't come back to the same venue year after year and expect the same turnout, especially at those prices.

The recorded music side of the music business has undergone a paradigm shift that it still can't get its arms around. I predict that the next sector to see such a major change will be the concert business.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Thursday, September 13, 2012

It's True, The Music Business Is Not About The Art

Line Outside Club image from Bobby Owsinski's Music 3.0 blog
Last week the entire music portion of the blogosphere seemed to be lit up by the following statement from Universal Music Group CEO Lucian Grainge when talking about Justin Bieber:

The company likes hits, the fans like hits, and that's what he's there to do--make hits. 
We're not in the art business.

Why this statement should be any surprise to anyone I'm not sure. First of all, except for the label pioneers of the 50s, 60s, and 70s like Motown's Berry Gordy, Warner Bros' Mo Ostin, and Elektra's Jac Holzman (among a few others), this has been the label mantra for at least 30 years since the majors were bought out by the international conglomerates. Why should it be any different today?

Here's the bottom line if you're an artist or band and want label interest: a label doesn't care how good or bad your music is, they only care if you have an audience.

Good and bad is so subjective anyway. What's great to one person may be crap to another and vice versa. Most record companies only care if you have a line around the block waiting to see you. Really when you get down to it, that's all that counts.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Wednesday, September 12, 2012

Most Online Listeners Stream Classic Rock

Cloud Computing image from Bobby Owsinski's Music 3.0 blog
Here's something that's definitely unexpected. According to a Wakefield Research survey targeting cloud computing literacy that asked which music from the cloud they listen to, most chose both classic and modern rock legends. The top 10 artists mentioned were:

1. The Beatles

2. The Rolling Stones

3. Michael Jackson (okay, I agree, he's more r&b)

4. Bon Jovi

5. Pink Floyd

6. Bruce Springsteen

7. Eminem (definitely not rock)

8. Maroon 5 (their rock credentials are suspect)

9. Led Zeppelin

10. Coldplay

There are a few other things the survey found:
  • 5% of those who think they're not using the cloud, actually are
  • 59% believe the workplace of the future will exist entirely in the cloud
  • 33% agree that using the cloud allows them to interact with people that they rather not in person
  • 68% recognize the economic benefits of the cloud
  • 14% have pretended to know what the cloud was during a job interview.
The survey just goes to show that the cloud has permeated our everyday lives to the point that we're really not aware that we're interacting with it. Let's hope that this connected remains forever intact.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Tuesday, September 11, 2012

10 Advantages Of Social Media Over Traditional


Here's a great post on the advantages of social over traditional media from Hubspot via marketing guru Simon Mainwaring.

Social media is the hub around which the Music 3.0 wheel turns, and the following provides some reason why.

As traditional and social media duke it out for the leadership role in commanding consumer attention, it’s worthwhile to highlight some of the undeniable benefits of social media. Here are ten that quickly come to mind. My comments in italics.

1. Cost: There are almost no barriers to entry in creating or distributing social media content. Or put another way, beyond your time and production costs, it’s almost free. (Still need the other nine reasons? OK.) And that single piece of content ricochets around the web indefinitely with no additional expense unlike TV, print or radio. The cost of time can be significant though, so that must always be kept in mind.

2. lntimacy: Traditional media necessitates broadcasting to thousands or millions of people at once robbing it of the specificity and dialogue that can be achieved through social media. Fans of any type want a personal interaction with the artist or brand, especially since they see it's now possible - another Music 3.0 fundamental.

3. Targeting: A key advantage of social media is that it can be far more specific in terms of isolating exactly who that brand or product wants to talk to. What’s more, consumers share the load by constantly sourcing information and products of interest and distributing them to others. Why broadcast to those who have no reason to care about you? Such a waste of time and money.

4. Nimbleness: One of the unique advantages of social media is that it allows brands to adapt to consumers buying and sharing habits almost instantly. Traditional media necessitates sizable (and often prohibitive) investments by corporations who then can’t react as quickly as market requires. While big media buys will probably never go away, they're far less necessary than ever before thanks to social media.

5. Measurement: Traditional media has to rely on long-term measurement tools to gauge the effectiveness of brand messaging. With social media that measurement can be almost instantaneous as the customers respond to brands and each other across networks, platforms and apps. When that response is negative, a brand has the chance to course-correct quickly minimizing damage to the brand. As the old advertising saying goes, "50% of advertising works, we just don't know which 50%." The age of that is now over.

6. Newness! Consumer preoccupation with whatever is new is hardly unique to social media. Yet as a function of its ability to constantly evolve in response to consumer demands, social media retains the sheen of “new” re-engaging consumer attention. With traditional media content can change but the format of distribution changes little and slowly. In marketing, "new" is more about what's current. It's far, far easier to be current ("new") using social media.

7. Exponential: As difficult as it is for a brand or product to thread the viral needle, the potential for exponential growth is almost unlimited and repeatable at a low cost. The problem here is that you never know exactly what will become viral. Still, at least the prospect of exponential viral growth is always available, while it's possible but pretty unwieldy with traditional media.

8. Participatory: As soon as the barriers to content creation approached zero, consumers quickly stepped into the vacuum and began participating in the commercial dialogue. It’s as if the longstanding presumption of traditional advertising that brands and consumers were in dialogue has finally come true thanks to real-time communication tools. Once again, true fans, super-fans, "tribe" members crave interaction, especially since they now know it's possible.

9. Proximity: Time and distance have virtually disappeared as a barrier between consumers around the globe. As such, social media has created a global, connected community like never before. That opens up enormous potential for success or failure depending on how well brands understand the new dynamics in play. We are truly in a global economy, especially if social media is used.

10. Future: Just as advertising dollars have followed consumer eyeballs online, they will shortly follow consumer adoption of mobile community (enabled by smart phones) as the new defining social media dynamic. While new rules of engagement will appear and consumers will increasingly be defined by where they are (hello, Foursquare), much can be divined about how to prepare for the future from current social media practices. Social media evolves quickly so you must stay on top of the latest evolutional trend to take advantage.

What other advantages to social media do you see?

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Monday, September 10, 2012

It's Time For The YouTube Music Awards

YouTube logo image from Bobby Owsinski's Music 3.0 blog
There's been much hoopla over this year's Video Music Awards (VMA's), with everything about who won, who didn't win, the fights, the pouting, and finally, the low ratings. The fact of the matter is that the VMA's have long been obsolete, but sadly out of touch as well.

MTV, who sponsors the VMAs, is now a lifestyle channel and rarely plays videos any more. How can it have any award credibility if it's not in the game. That's assuming, of course, that it had any in the first place.

But here's the most damning indictment; some of the biggest videos that have been nominated in this past year (Gotye's "Somebody That I Used To Know" and Carly Rae Jepsen's "Call Me Maybe") have been a product of viral videos on YouTube. In fact, many studies point to the fact that YouTube is one of the main avenues of discovery for new music. When was the last time MTV could claim that? 1989?

That's why it's time for an music video awards show that's far more relevant to what's happening today - the YouTube Music Awards. Google, who owns YouTube, is already building broadcast facilities and gradually dipping their toe into television, and this would be the perfect way to start it off.

Just image how they could tie it all together. Do a live stream on YouTube Live and GoogleTV in conjunction with a TV network, and tie in the social with a massive Google+ Hangout. In fact, I volunteer my services as exec producer, if you're listening Google, because the YouTube Music Awards is an idea who's time has come.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Sunday, September 9, 2012

Here Comes Apple's Streaming Service

Streaming Music image from Bobby Owsinski's Music 3.0 blog
It's been predicted for years, but it looks like Apple is finally entering the realm of streaming music. Reports from The Wall Street Journal now indicate that the computer and music giant has been in talks with the major labels to create a custom service similar to Pandora's that would create virtual music streams based on a listener's song or artist choices. The report also states that the new service would not be available on Android devices, which is Apple's way of maintaining a strong grip on its online music market share.

There's already competition in this space, since iHeartRadio and Spotify besides Pandora offer an algorithm that make custom song choices. Rumor has it that Apple's service will be different in that it will offer a lot greater interactivity than any of the other services however, and their license fee to the labels will be larger as a result.

That said, you can see the shakeout coming already. Pandora's stock fell 17% on Friday, and you'll see a giant change overnight not only in that part of the industry, but online music in general if Apple's service comes to pass.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Thursday, September 6, 2012

Making A Living In Music Is The Same Everywhere

We have one of the most sophisticated networks for making money from all aspects from music in the United States, but when it comes down to it, it's not that different from some of the less developed entertainment areas of the world.

Take Nigeria, for instance. The music business is primitive in so many ways, but when you dig deep into it, it's exactly the same as the US if you're a DIY artist and not a huge corporation. Here's an interesting video interview of Rapper LD on SmartMonkey TV that illustrates the point. LD is smart and hip, and has been at it long enough that he knows just what to do in Nigeria. My guess is that he'd make it in the States in a minute.




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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Wednesday, September 5, 2012

Who Buys The Most Music? Top 40 Listeners

radio image from Bobby Owsinski's Music 3.0 blog
There's a new study conducted by The Media Audit that reveals what most of us already thought to be true; Top 40 radio listeners purchase the most music. The study looked at the habits of 41 million users across 81 markets and found the following:
  • 42.8% of Top 40 listeners frequently purchase CDs or downloads
  • 27.7% of all US consumers frequently purchase music (who would've thought it would be that high?)
  • 39.2% - Urban listeners
  • 38.3% - Hot AC (adult contemporary)
  • 36.4% - Rock
  • 34.1% - Urban AC
  • 33.2% - Sports
  • 32.7% - Public Radio
  • 31.5% - Classic Rock
  • 30.4% - AC
Frequent purchases are defined as having purchased a CD or download within the last four weeks.

To break it down even further:
  • 49% are female
  • 46.6% are between the ages of 25 to 44
  • 67% are between the ages of 18 to 44
And finally, in a figure that should be no surprise at all, frequent music buyers are more likely to have a college degree and have a higher income, with the average household income being $76,739.

The bottom line, there's still a lot of music being purchased, it's just not making its way back to the artists and songwriters.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

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