Next Article : Label Worx Careers - Head of Label Acquisitions & A&R (UK)
Label Worx's Matt Abbott has been invited to be one of the panellists at the International Music Summit's (IMS) this year, joining a number of industry professionals on the Annual Digital Debate. The Annual Digital Debate this year brings in speakers from the artist side - managers and label heads representing the likes of Armin van Buuren and Fatboy Slim. In addition to Matt, the full list of panellists include Alexander Holland (Deezer), Chris Manning (The Orchard,) Eric Wahlforss (Soundcloud) Jonathan Barnes (Pandora), Katy Ellis (Anglo Management), Matthew Adell (Native Instruments), Maykel Piron (Armada Music) and Robb McDaniels (Beatport).
The new YouTube music subscription service - previously codenamed 'Remix' - has been confirmed and will launch in five markets next Tuesday (May 22). The audio-visual platforms actually relaunch of the YouTube Music brand, as an app and desktop player which offer 'streaming service made for music with the magic of YouTube'. There is both an ad-supported free tier and a $9.99-per-month package called YouTube Music Premium. Current Google Play Music subscribers will get a YouTube Music Premium membership thrown into their current deal, and have been reassured that 'nothing will change'. '[If] you use Google Play Music, - you'll still be able to access all of your purchased music, uploads and playlists in Google Play Music just like always,' said Elias Roman, Product Manager - YouTube Music, In addition, YouTube has announced that will soon re-brand its premium subscription YouTube Red service as YouTube Premium, which will include access to all YouTube Originals as well as YouTube Music for $11.99 a month. (The price paid by current YouTube Red subscribers won't change.) YouTube Music will launch in the U.S., Australia, New Zealand, Mexico and South Korea next week (although, in South Korea, the service will only offer the YouTube Premium membership, not YouTube Music Premium). YouTube Music will also 'soon' be launching in Austria, Canada, Denmark, Finland, France, Germany, Ireland, Italy, Norway, Russia, Spain, Sweden, Switzerland and the United Kingdom, said YouTube. YouTube confirmed in its blog post that: 'More than 1 billion music fans come to YouTube each month to be part of music culture and discover new music.' The service's Elias Roman commented: 'The days of jumping back and forth between multiple music apps and YouTube are over. Whether you want to listen, watch or discover, it's all here. 'YouTube Music is a new music streaming service made for music: official songs, albums, thousands of playlists and artist radio plus YouTube's tremendous catalogue of remixes, live performances, covers and music videos that you can't find anywhere else - all simply organized and personalized. For the first time, all the ways music moves you can be found in one place.' Roman added: 'YouTube Music's personalized home screen dynamically adapts to provide recommendations based on people's listening history, where they are and what they're doing. At the airport? We'll recommend something relaxing before the flight. Entering the gym? We'll suggest some beats to get the heart-rate going. 'Thousands of playlists built to help you discover new music. That means no matter what kind of music you like, where you are, what you're doing, or what mood you're in, you can easily find the right playlist for that moment.'
We're very excited here at Label Worx HQ about the new release on Yoshitoshi Recordings, Yoshitoshi: The Acapellas. The Classic series has already brought us some amazing remixes from some of today's most innovative artists, including Nicole Moudaber, Red Axes, Sharam, Matador and many more. Now, Yoshitoshi want to be able to give back to the fans and release this very special DJ Tool package. We caught up with the Yoshitoshi Recordings team to discuss this a bit more How do these parts and acapellas compare to the original ones? Have you edited or processed them in any way? We have. Our main goal with this pack was to create highly functional DJ tools that anyone can easily mix into their set without worrying too much. We tried to keep them as close to the original as possible in terms of arrangement, but there were some parts that were just begging to be looped a bit more. We also added some very subtle reverb to some of the vocal parts that sounded really dry without any music behind it. In the end it was mainly the product of a lot of testing, and what we ended up settling on felt like the right balance between sticking to the original and creating something functional that DJ's would have fun playing. What makes these different than your standard acapella pack? One of the main differences is we've actually included sixteen bars of drums from the original tracks before the vocals or parts come in. The idea was that it will make the parts easier to use; first, obviously, by providing drums to lead the track in, but also by giving beat-detection algorithms in programs like Traktor and Rekordbox something that will make analysis quick and painless. Too often, things like acapellas or even just older records don't play nicely with beat-detection. So we've made sure that even if your software doesn't accurately pick up the BPM (and it did in almost all of our tests), you can just set the 1, type in the bpm manually, and boom. How did you select the tracks for this release? All the acapellas featured here are from the Yoshi 20th anniversary remix packages. The modern remixes are all amazing, but on the other hand it's important to celebrate the original material, the hooks that make those records truly memorable. We wanted to bring some attention to them while also presenting them in a new and forward-thinking format for DJ's. Is there a plan to do more of these? Absolutely, and we don't just want to limit ourselves to classics. The second volume will also be mainly hooks from the classic records, but we also want to dig into the newer vocal records. Modern DJ gear has made it so easy and fun to play around with parts and really do live remixes of material, so we want to give the DJ's that love our records the option to do that.
Our friends at IMS Ibiza have kindly offered all Traxsource label partners a huge 50% discount on Delegate and Delegate Plus tier badges. You'll be able to access panels and keynotes, networking events, the IMS Dalt Vila finale party and much more during the three-day summit, running May 23-25
Do you have 3-5 years or more experience in the Dance Music Industry and based in London? We're looking for the right person to fill the role of 'Head of Label Acquisitions & A&R' for the UK. Reporting directly to the Vice President of Artists, Content & Labels, the Head of Label Acquisitions and A&R will be responsible for securing new label clients, maintaining relationships with existing clients and leading the A&R policy of the business. Since 2007, based in Hull. We have specialised in providing digital tools and services to independent records labels worldwide. Working with more the 8000 record labels in 144 countries, we are one of the largest dance music distributors on the planet.
Sony Music sold approximately 50% of its shares in Spotify during the streaming company's first month on the New York Stock Exchange, MBW has learned - generating in the region of $750m as a result. The major record company owned 5.7% of Spotify's stock - a total of 10,164,560 shares - before the streaming platform went public on April 3. Sony then sold 17.2% of these shares on the New York Stock Exchange during Spotify's opening 24 hours of trading - generating $260m. Today, an update: MBW has learned that, ahead of its earnings announcement last Friday (April 27), Sony cashed in a further chunk of shares. Read more here...
Feeling frustrated and fighting a constand battle to get your music played on the Radio? Marvin Kujis from iPluggers has written this great article to help you get everything right before even thinking about airplay of your music. Enjoy! To secure airplay as an independent artist is one of the biggest challenges there is in the music industry. As A&R at iPluggers, I deal with new releases submitted by indie artists for plugging on a dally basis. Since we have a strict A&R policy (we refuse about 60% of all releases submitted for airplay), we at iPluggers would love to give you some advice on how to better prepare your release for radio.
We are pleased to welcome Reece Sheppard to our Label Management team. Reece has a keen eye for impeccable data management as well as a phenomenal knowledge of all things from house and techno, to jungle & D&B. Reece will be joining Connor, James, David and Nathan to ensure your labels, releases and day to day support are handled as quickly and efficiently as possible. Welcome to the team Reece!
Label Worx is delighted to announce that we have entered into a deal with Facebook to work with, develop and implement a rights management and royalty payment/reporting system. During the first phase, Facebook will not report royalties but will be developing products which cover personal & non-commercial use of sound recordings within user posted videos and live user streaming within the Facebook network. Facebook is not launching an on-demand music service comparable with e.g. YouTube, Spotify, Apple or Amazon Music and the above products are subject to various limitations. Important : Whitelisting Label Worx need to provide details of all artist and label Facebook / Instagram accounts that they wish to whitelist. Artist Page Whitelisting To whitelist your artist pages, within the Label Worx LMS please go to; 1. Artists > Artist List 2. Click on the Artist name you wish to update 3. Scroll down to 'Social Networking Links' and enter the links 4. Click Apply Label Page Whitelisting To whitelist your label pages, within the Label Worx LMS please go to; 1. Labels > Record Labels 2. Click on the Label you wish to update 3. Scroll down to 'Social Networking' and enter the links 4. Click Apply Please note: Whitelisting will prevent any videos uploaded to these pages, containing licensed content, from being claimed by the rights holder (i.e. this will prevent artist/label uploads from being blocked). Uploaded content will be subject to Facebook's standard terms and conditions. This is a really exciting development and we are looking forward to working with Facebook.
I do hope you didn't eat too much chocolate over the Easter break. Because the music biz is going to need to find some room for popcorn as we watch Spotify's IPO unfold this week. The prospect of the world's biggest music streaming service going public holds lots of potential ramifications for the industry, as our report in the latest issue of Music Week illustrates. But Daniel Ek and co aren't the only ones who should be pondering the future this week. Because how the biz distributes its dividends from the Spotify float will do an awful lot to frame its relationships with artists in the years to come. All three majors and Merlin have pledged to share any windfall from selling their equity stakes with their artists and label members, and some companies have also pledged to pass on money to distributed labels. So far, no one is saying when, or even if, they plan to actually sell those stakes. Timing will, of course, be pretty crucial; with a potential $20 billion+ valuation, selling too early or too late could conceivably cost those artists a small fortune. But that's not even the trickiest part. The basis on which money is distributed will be enough to test the finest strategists (and accountants) in the biz. Do you divvy up the cash on the basis of current performance, or over the entire time that the stakes have been held? How do you compensate a newer artist with a few streaming megahits versus a heritage act with a vast catalogue that ticks over nicely? And so on. No one's expecting it to be easy, but it's going to require a whole new level of transparency and cooperation from labels. After all, this is a process that not only needs to be done, but needs to be seen to be done. Pass the popcorn, please.
Over the last couple of year. Brighton Music Conference has grown into the UK's premier, industry conference for music junkies and Britains finest dance music acts, label owners and performers. We will be attending on Thursday 26th & Friday 27th of April. You can also catch our VP of Artists, Content & Labels 'Dom Kerley' speaking on the 'Streaming - Best practices & how to make it work for you' panel on Friday at 13:15 in the Professional Theatre.
Last week Traxsource announced we would be updating our prices, and we are very happy to report that we have just completed that update today. Here is what they had to say... First, we want to say a massive thank you for your amazing feedback. We recognize that the success of Traxsource is tied directly to the success of each and every label, product and artist we represent and our goal is always to ensure the best result for our Content Partners. Overwhelmingly the feedback we received was positive and thoughtful and we appreciate your support so thank you very much. We would like to take this opportunity to announce an adjustment based on your feedback and to provide a clarification: 1- The 'Classic' price tier has been adjusted to be effective on releases more than 90 days old. Thank you for your feedback, we heard you and agree that 36 days is too soon so we have changed this to 90 days. This will extend the premium valuation for your new products with the automatic price reduction to the 'Classic' tier on a more appropriate timetable. 2- The 'Package Prices' refer to Releases, Albums, Compilations etc & not our 'Bundles'. Some of you expressed concerns over our DJ Charts and other 'Bundles' at the package prices we outlined. To clarify - every single DJ chart, Essentials List, or any other bundle created by Traxsource does not offer any price breaks - no matter how big the track listing is. The 'Package Prices' apply only to Singles, Albums, EPs and Compilations as delivered to us by you. We hope this clarifies the 'Package Price' columns. Finally, we want to alert you that as of today, our official 'Online Exhibit C End-User Price List'has been updated to reflect the new prices outlined last week. You may view the revised Exhibit C within the Label & Content System. Thank you, The Traxsource Team
At Label Worx we are always developing new features to help our labels streamline their processes, which is why we have introduced a 'Copy' tool. This tool essentially duplicates a release in your release list. With the rapid growth of streaming services over the past few years, it has become common practice for labels to tailor their releases for different stores and markets. For example, original and extended mixes can be sent to the download stores whilst radio edits are sent to the streaming services.
You may have noticed that recently Beatport have started building playlists on Spotify and driving fans to them. So why is Beatport on Spotify i hear you ask? Here is what they had to say; 'Streaming is the new normal, and not just for consumers. We regularly hear from our DJ customers who use Spotify to discover and preview new music at full-length before making a qualified, high-quality purchase on Beatport. Beatport-curated Spotify playlists are a value-add to our close relationships with independent labels, showcasing the best new music that's hit the store. Each week, our dedicated curation team handpicks the must-hear tracks out now across Beatport's various genre categories. We're building the most reliable, up-to-the-minute place to discover the latest and best dance music on Spotify. Sales and streams complement each other. Curated playlists are part of an ongoing mission to improve the Beatport experience for our customers, while ensuring the best new music gets the attention it deserves.' Beatport playlists are fully editorial and when pitching for a feature on Beatport this will now be considered for their Spotify playlists. Follow Beatport of Spotify
Traditionally if you wanted to create bespoke clothing and other merchandise for your label, you've probably baulked at the costs involved, or been intimidated by the minimum runs associated with printing a t-shirt emblazoned with your carefully designed label logo. Well, we're happy to say that the days of forking out serious cash to get some label gear sorted are behind us, as we've teamed up with Everpress to bring freedom to your merch needs. Everpress offers you a simple way to create quality - and potentially profitable - merchandise worldwide, making it super easy to connect with fans, promote your brand and sell beautiful custom products instantly, with no upfront costs. The process is extremely straightforward: once you have your design you can send direct to Everpress or upload it yourself to their campaign builder. Next, choose your garments, how much you want to sell them for and launch your campaign, which is effectively a pop up shop). Then share the link with your social audience and collect pre-orders for the duration of the campaign, which can run anything from 1 to 30 days. As the sales roll in, you can view the live sales statistics and your projected profits in your dashboard. Then at the end of the campaign, Everpress print all the orders in one batch and ship directly to your fans worldwide. Best of all, the minimum run is just five items, so there's no risk of sinking a load of money into stock you may struggle to shift. Profits are paid seven days after the campaign finishes, and if there are any customer service questions or issues with delivery fans come directly to Everpress, so you won't have to spend any time fielding queries from your customers. Two types of printing are offered: screen printing or DTG Printing, the latter of which is highly recommended for full colour designs and intricately-detailed images. There's a huge range of garments to choose from, including long and short sleeve t-shirts, vests, sweatshirts and hoodies, while Everpress also give you helpful guides on how to make sure your artwork is print-ready, and even offer marketing tips on how best to promote your range.
London based duo Tough Love have rapidly risen through the ranks of the house scene over the last few years. Their distinct productions together with energetic and bass-heavy DJ sets have created a cult following of hard-core fans across the UK and beyond. Tough Love's Alex & Stef have been championed for their remixing ability and their penchant to make fun, '90s inspired house records. Support has already come in from the dance music tastemakers over at BBC Radio 1 - with the likes of Danny Howard and Annie Mac both labelling Tough Love as an act to look out for in the coming year.
Apple Music's paying subscriber base has surpassed 36m worldwide - a figure which remains about half the size of Spotify's equivalent premium audience. The news means that Apple has slightly increased its average month-on-month net subscriber additions over the past quarter. The last semi-official announcement from Apple Music arrived when Jimmy Iovine confirmed the service had topped 30m subscribers at the end of September last year. Today's update, care of the Wall Street Journal, means that platform has since added 6m subs in under five months - just over 1.2m every four weeks. That still lags slightly behind Spotify's recent average. Daniel Ek's company announced it had reached 70m paying subscribers last month. That meant that it had added an average of 2m subscriber per month across an unbroken 10 month period. However, according to the WSJ, it's s a different story in the US - where Apple is set to overtake Spotify's total subscriber base this summer. Apple's subscriber-account base in the U.S. has been growing about 5% monthly, versus Spotify's 2% clip, reports the newspaper. This is all good news for artists and record labels, of course - but, then again, perhaps not as good as they might argue it could be. If every subscriber in Apple and Spotify's most up-to-date combined subs base (106m) were shelling out the US standard $9.99-per-month price, the two services combined would be turning over a whopping $12.7bn across a 12 month period. Sadly for rights-holders, it doesn't work that way. Not only do territorial differences greatly affect prices, but Apple and Spotify have recently both used discounted packages such as student and family prices to lure customers in the quest to quickly ramp up their subscriber bases. Because of discounts like these, MBW discovered last summer that the average global Spotify subscriber in 2016 was paying around $5 per month - half the standard $9.99-per-month cost many people reference when referring to subscription on-demand streaming. That equated to an average annual spend from 2016 Spotify subscribers of just $61 - some $30 cheaper than the equivalent average Spotify subscriber was paying as recently as 2013.