Friday, February 12, 2016

Record Label Opens Its Own Brick And Mortar Store

Stax of Wax record store imageMaybe this is the way it should be.

Concord Music Group, which owns a variety of record labels and is home to prestigious artists like Paul McCartney, James Taylor, Chick Corea, Alison Krauss, Ben Harper, Arturo Sandoval, Booker T. Jones, Kenny G, George Benson, Steve Martin and Alejandro Escovedo, has opened up it's own brick and mortar record store.

The store, called Stax of Wax, is in the upscale Malibu Country Mart in Malibu, California, and features products from its various labels, although it pays tribute to the soul label of the same name.

Of course, this avenue isn't new, as labels over the years have owned their own record stores both in the US and the UK. In fact, Jack White's Third Man Records has had its own store in Nashville almost since the label's inception.

It does make a lot of sense these days though, even for major labels, although it's doubtful they'd get behind the idea. Label-branded record stores could control the inventory, promote the latest releases and add a presence in the community that it now lacks.

Just as many of the larger indie stores like Ameba offer artists a way to promote their work with in-store performances, a label store could also be a place for showcases to find new talent as well.

On a creative level it makes total sense, although it's hard to say if it works on a financial basis.

Either way, support you local record store. It's still vital to the success of the music business.


Thursday, February 11, 2016

The 5 Characteristics Of The YouTube Voice

YouTube Voice imageWe've all either experienced or heard of the teenage (or just beyond) YouTube sensations that have millions of followers and hundreds of millions of views, but is there something that's common between them? Business and presentation aside, The Atlantic attempted to find out by asking a few linguists to determine the characteristics of a "YouTube voice." Here's what they discovered.

1. Overstressed vowels: Emphasizing a vowel that would normally pass loosely in the middle of the mouth.

2. Extra vowels between consonants: Elongating a word by adding an extra syllable to it so it's emphasized. The name for this is epenthetic vowel.

3. Long vowels: Stretching out vowels is another common way of emphasizing words, but sometimes they're just only slightly longer than normal.

4. Long consonants: Especially those at the beginning of words.

5. Aspiration: From the article - “If you put your finger in front of your mouth, I'll teach you a very quick phonology lesson,” Baron said. I did. “Are you ready? Say ‘keep.’”
“Keep.”
“Now say ‘geep.’”
“Geep.”
“When you said keep, did you feel a breath of air on your finger?” She asked. (Indeed I did.) “That’s called an aspiration.” There’s normally an aspiration on the K, even if you say it normally, but if you huff and puff a little more, that makes the word stand out."

The “YouTube voice” is just a variety of ways of emphasizing words, but they're actually things that people do all the time. YouTube vloggers need to keep the viewer's attention, so they do them a little more.

It's interesting, though, that one linguist called it an "intellectual used-car-salesman voice."

Check the original article for some great examples. Could this be something that you can include in your YouTube videos?


Wednesday, February 10, 2016

Bose Turns Superbowl Tweets Into Songs

Bose Fantracks imageBose didn't pay for an ad during the Superbowl broadcast, but it did figure out a unique way to capitalize on the event.

The company asked a number of artists and bands to turn Superbowl related tweets with the #LetsHearIt hashtag into some short songs for a campaign it called Fantracks.

A variety of artists from different genres turned in 30 second songs recorded on the spot at the Bose studio and then posted them on social media and a dedicated Tumblr blog.

Not only did the artists use the tweet's text, but emoji's as well, which added a fun element to the process.

They're all pretty good and fun to watch and listen to, and it's hard to get bored since they're all so short. In fact, some of them are so good I wish they were longer.

Check out the Fantracks here.

Tuesday, February 9, 2016

Apple Music Now In Far More Countries Than Spotify

Apple Music Everywhere imageApple has done a great job making Apple Music available throughout the world. As a matter of fact, Music Business Worldwide notes that the service is now in 59 more countries than Spotify.

While we haven't received any info lately as to the number of subscribers that's translated into (the last figure was 10 million after 6 months, half that of Spotify), it does give Apple Music a huge leg up over the the competition. It's true that many of the countries have small populations, but it all ads up when the number is as large as it is.

Here's the list of countries where Apple Music has a presence, but Spotify does not.

1. Anguilla
2. Antigua
3. Armenia
4. Azerbaijan
5. Bahrain
6. Barbados
7. Belarus
8. Belize
9. Botswana
10. British Virgin Islands
11. Cambodia
12. Cape Verde
13. Cayman Islands
14. China
15. Dominica
16. Egypt
17. Fiji
18. Gambia
19. Ghana
20. Grenada
21. Guinea-Bissau
22. India
23. Indonesia
24. Japan
25. Jordan
26. Kazakhstan
27. Kenya
28. Kyrgyzstan
29. Laos
30. Lebanon
31. Macau
32. Mauritius
33. Micronesia
34. Moldova
35. Mongolia
36. Nepal
37. Niger
38. Nigeria
39. Oman
40. Papa New Guinea
41. Romania
42. Russia
43. St Kitts & Nevis
44. Saudi Arabia
45. Slovenia
46. South Africa
47. Sri Lanka
48. Swaziland
49. Tajikistan
50. Thailand
51. Trinidad & Tobago
52. Turkmenistan
53. Uganda
54. Ukraine
55. UAE
56. Uzbekistan
57. Venezuela
58. Vietnam
59. Zimbabwe

This is good news if you're an artist, since Apple Music is more likely to get a paying subscriber than just about any other service, thanks to the fact that they already have credit cards on file.

Monday, February 8, 2016

Rumors Untrue - Twitter Not Changing To Facebook-Like Newsfeed

Banned Algorithm imageTwitter was in a panic last week as rumors circulated that the service was moving towards an algorithm-based feed that would select which tweets you see instead of by the time posted as they are now. The company's president, Jack Dorsey, has now made an official announcement denying the rumor, stating that it's trying to make it "feel more, not less, live."

In Facebook, an algorithm selects the posts that you see in your Newsfeed by how popular they are and how relevant they are to you, which means that you miss around 98% of the things posted by your friends and followers.

With Twitter, you see everything posted by those that you follow, but chances are that you won't want to dig back through a few hours or more of tweets, so usually the ones seen are the most recent.

A change to an algorithm would mean that tweets would be selected for you based upon your preferences and viewing habits, which means that the element of live news would be somewhat replaced. Thankfully, that's not the case as the company says it has no intentions of changing.

This is a big deal if you're using Twitter for promotion in that the Facebook algorithm means that only around 2 to 3% of your friends and followers are seeing your posts, unless you pay to promote them.

This is a good move for Twitter in that its user numbers have flattened at around 300 million, and the last thing that it needed was any controversy that might have caused users to flee to another service.

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UPDATE: It turns out that Twitter introduced the algorithm anyway, but it's not turned on initially. Users can choose to turn it on in their preferences, but this might change over time where it defaults to on and users can choose to turn it off.

Friday, February 5, 2016

Warner Music May Give Spotify Windfall Back To Artists

WMG throwing artists a bone imageMajor record labels aren't known for being particularly generous to their artists, but in at least one case, that might change a little. Warner Music has made it known that should it ever sell its stake in Spotify, at least some of the proceeds will go to its artists, according to a post on Music Business Worldwide. WMG CEO Stephen Cooper made the announcement when speaking to investors yesterday.

This is an unprecedented step as any income from these types of equity sales have traditionally made their way directly to the label's bottom line in the past, bypassing the artists.

The major labels own around 15% of Spotify, which came as part of the company's negotiations for licensing rights to the major label's catalog. It's estimated that WMG owns between 2 to 3% of Spotify, which at its current $8 billion valuation, is worth around $200 million.

Spotify has signaled its intention for an IPO (Initial Public Offering - where shares of the company are offered to the public for the first time) this year, which would mean a windfall for its shareholders, including the major labels.

Knowing the potential blowback from artists should they not see any money from the sale of the company they helped build, WMG decided to get on the right side of the situation instead of having to react to it after the fact.

Any resulting bad publicity from a Spotify IPO could harm the streaming side of the music business, which has grown into a major source of revenue for the industry as is quickly replacing physical sales.

As a result of this story, Sony Music announced that it would also give back a piece of the proceeds from any sale (no word on exactly how big a piece). The question now remains, will Universal Music feel compelled to follow?

Thursday, February 4, 2016

SoundCloud Rolls Out Its Own Version Of Pandora

SoundCloud Stations imageSoundCloud is angling to become a full-fledged streaming service, and it just took a big step towards that goal with the introduction to what it calls Stations.

Stations takes the the previous "Related Tracks" feature one step further by simplifying it and improving the recommendations. The result is what the company hopes will be increased music discovery.

If this sounds familiar, that's because it's just what Pandora has been doing for a number of years now,  as well as Spotify and Apple Music, but this is a first step to get SoundCloud into the same game as those large services.

Essentially, a station is generated from any track, search term, or content stream in your Collection. All you have to do is tap the three-dot menu next to a track and select "start track station" to begin. After the first track plays, SoundCloud uses your listening habits and track selections to determine the songs you'll hear next.

The feature works on both Android and iOS devices but hasn't made it to the web app yet.

My guess is that it won't have too many people giving up their Pandora accounts just yet, but it's a good first step.

Wednesday, February 3, 2016

1500 Track Streams Now Equals 1 Album Sale

1500 Track Streams = 1 Album SaleThe RIAA announced that it will now count 1500 track streams as 1 album sale when it comes to qualifying for awards like gold records.

This means that 150 streams now equals 1 track sale, thus 10 track sales (1,500 streams) then equals 1 album sale.

It's nice that there's some metric, but there's a big flaw in this logic.

1500 plays of the same song now equals 1 album sale, which is hardly the same thing as a true album sale.

When you buy an album you pay for 10 songs, and although you may not listen to them all as much as the ones you like, you did pay for them all and are exposed to them all.

That's far from the case with the 1500 = 1 logic.

Another thing is that until the announcement on Monday, 100 streams was considered 1 sale, so the bar for a sale has been raised (probably rightfully so).

It's great that the RIAA has announced this metric to reward performance, and although it doesn't seem to be as fair as real sale once was, I can't think of (nor have I read) a better idea of how to measure this.

Ideas anyone?

Tuesday, February 2, 2016

The Best Way To Live Stream To Multiple Platforms

Joicaster imageLive Streaming is becoming an important part of an artist's social repertoire, but until now it was limited to one platform like YouTube or Ustream. Wouldn't it be great if there was a service like OneLoad where you could upload your video to multiple services from one platform?

It turns out there is and it's called Joicaster.

Joicaster allows you to stream to up to 67 live streaming platforms that range from popular ones like YouTube and DailyMotion, to gaming (Twitch, Hitbox), New Media (StreamUp, Roku), Sports (CBS Interactive, TheCube), Faith (StreamingFaith, SundayStreams), Production (MakeTV, SnappyTV) and CDN (Akami, Amazon Media Services).

The service features a simple dashboard that allows you to stream your high-definition broadcast to one or more platforms, and provides chat, social sharing and live analytics as well.

There's actually a free plan that allows up to 4 concurrent streams, with the paid plans providing more streams and features. They start at $4 to $30 per month, with a custom enterprise plan also possible.

If you're into live streaming, check out Joicaster to help you expand your audience.

Monday, February 1, 2016

Artist Management Consultant Mike Gormley On My Latest Inner Circle Podcast

Mike Gormley imageMy guest on this week's Inner Circle Podcast is artist management consultant Mike Gormley.

Mike was head of PR for Mercury and A&M Records before he headed into management, where he worked with acts like The Bangles, Oingo Boingo, Wall of Voodoo and Danny Elfman, and now heads up LA Personal Development.

We'll discuss the differences between PR and management from the classic days of the 80s and 90s to today, and you'll hear some good war stories as well.

In the intro I'll discuss how Spotify will now stream video but not for the reasons you might think, the latest music streaming platform called Cur Music, and the latest in the labor dispute between Guitar Center and its employees.

Remember that you can find the podcast at BobbyOInnerCircle.com, or either on iTunes, Stitcher and now on Mixcloud and Google Play.


Small Webcasters Forced To Shut Down Thanks To Royalty Increase

Goodbye Small Webcaster imageA number of issues seemed to have doomed thousands of small webcasters who use the Live365 platform, which closed down today. The webcasters include everything from one man niche programmers dedicated to new music discovery, to smaller radio stations like Smooth Jazz Chicago and Pulse 87 NY.

One of the main issues that caused the Live365 to close is the recent Copyright Royalty Board ruling to increase the royalty rates webcasters must pay to artists and songwriters.

In 2009 SoundExchange (which collects the royalties and then distributes them) negotiated a rate based upon the amount of revenue generated by a webcaster which helped the smallest webcasters stay on the air. A webcaster with no revenue could pay a flat rate to Live365, which then passed it on to SoundExchange.

That agreement terminated at the end of 2015 however, which now means that smaller webcasters are subject to the same per stream rates as major entities like iHeart Radio and Pandora. With a massive royalty commitment and little revenue to count on, most small webcasters can't afford to stay on the air, and even medium sized webcasters find that all their revenue will be eaten up.

The Live365 platform had additional issues, as it never turned a profit, and now with the new CRB ruling, faced a loss of much-needed investor backing.

This is actually a very complex issue, as there are multiple rates for commercial versus non-commercial webcasters. The fact is that many small webcasters were responsible for exposing new music while paying a very low royalty rate.

Musicians and songwriters now make marginally more, but to what end? If there are fewer outlets for your music, there seems like no winner in this decision, but many with a lot to lose.

Friday, January 29, 2016

Philly Musicians May Have To Register With The Police To Play A Gig

A city councilman in Philadelphia isn't exactly showing much brotherly love to musicians, as he's introduced a bill that would require venues like bars, restaurants and clubs to collect the contact information from bands, rappers, DJs and other performers, then hand it over to the police.

“Giving performers’ information to police when requested enables them to review past performances to see if there were any public safety issues during their events,” Councilman Mark Squilla, the sponsor of the bill, told the website Billy Penn via email.

The bill is an amendment to the "Special Assembly Occupancies" section of the Philadelphia code that would grant the police department the ability to approve or revoke a license for gatherings or screenings of more than 50 people.

The bill also raises the license application fee from $100 a year to $500 every two years.

This is just another assault on bars and clubs that has been happening everywhere. Without these venues, not only will it be tougher for musicians to make a living (like it could get any harder), but also make it much more difficult for the next generation of performers to attain the stage time required to learn their craft.

Clubs have it tough enough these days just coping with rising rents and keeping the neighbors happy, but increased police scrutiny for some mystical issue that no one can figure out shouldn't be one of them.

There's a Change.org campaign to stop the bill. I encourage you to sign to help not only support Philly music, but music everywhere.

UPDATE: Councilman Squilla has withdrawn his bill after the public outcry, so score one for Philly musicians and all those who have supported them.

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