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WHAT IS BEATPORT HYPE? Beatport Hype is the ultimate promotional platform, enabling you to grow your label and get it maximum exposure. If your label earns less than $10,000 a year, you are entitled to sign up for Hype. Some of the main benefits of this include: - Charting in the HYPE Top 100 will sustain your label's growth. - More sales increase your Beatport followers. - Potential selection of banners & release tiles for your tracks. - Supported Marketing and Social Media campaigns. - Monthly newsletter with tips & tricks from Beatport label team. Beatport Hype costs just 9.99 USD / 9.99 EUR / 14.99 AUD / 7.99 Per month, once your free trial expires. You can cancel at any time.
A&R (or artists & repertoire) might sound like something that you only associate with major labels and movies - you know, the cliche smooth-talking guy in a suit that turns up and offers a life-changing record deal to save the day. In real life though, A&R is much more than this, it is the backbone of your label and getting this essential element right will lay the foundations for a successful business. First things first: what exactly is A&R? In layman's terms, it's the process of finding, signing, managing and promoting your label's catalogue. But that's the easy part - the tricky part is to do it well. Our head of A&R, Simon Birkumshaw, has shared a few key things to keep in mind when signing music: - Have a plan (and stick to it) - You need to work out what your brand is - your sound and your image are important and the music you sign needs to represent that in every way - Do your research - Has the artist released on other labels? What is their social media presence like? Will They help work the release with you? What can they bring to the table? - Take your time - You don't need to sign everything you get sent as soon as you hear it. A track might sound different tomorrow or after a few listens - if you're not getting the same buzz about it a week down the line, is it really right for your label? - Think about the future - Once the track has been released, is there potential to exploit it in other ways away from your usual market to turn it into a valuable asset in the long-term? This could mean anything from licensing the track for use on other mediums, or simply creating shorter edits so that it is more appropriate for streaming platforms. - Data is king - When was the last time you checked the back end of Label Worx? You have access to a wealth of information about the sales and streaming figures for your releases which is updated daily - why not use it in your A&R process? Did that marketing campaign that you paid out for have an effect on sales? Which artists have done well on streaming sites and could be worth a follow-up release? There's a lot of potential if you apply the information to the bigger picture. - Be organised - You will potentially have a lot of demos to deal with, and each of those submissions will require an amount of your time to research and respond appropriately We know that people like to send labels music in all sorts of ways, and it can be hard to keep track of everything you're being sent across 8 different channels. So, to streamline this process, we have a service called Demo Worx which provides a single portal for you to manage and respond to demos from your laptop and even your phone. We'd be here all day listing every single feature, but. - You can set essential information that people need to include with submissions in a simple form, to save you time researching previous releases, social media presence etc. - You can mark off tracks you like to come back to later, and you can reply to submissions you don't like with pre-written replies to save time. - You can even share potential demos with team members to get second opinions and leave notes on tracks. And this all can be merged seamlessly into your website and social media channels. We understand the A&R process better than anyone and our Demo Worx tool was built from the ground up by A&R specialists to make the process easy for everyone involved. If it's something you think you might improve your label, please contact one of the team who will be able to provide some more information.
TIDAL has become the latest streaming company to allow users to block artists. The company's announcement follows last month's news that it was adding a block feature its platform. According to TIDAL, specific artists and tracks can now be muted in its 'algorithmically curated' playlists, My Mix (which was launched in December) and Artist and Track Radio. To remove specific content from the playlists, users can press a block icon that will appear on the 'playing' page. Once the block icon button is selected, either the specific track can be blocked or users can choose to mute the artist's entire catalog. Playlists will then skip the current track, and remove the content from all Artist and Track Radio and My Mixes playlists immediately. Blocked content can be reviewed in TIDAL's settings, where blocked artists can be unblocked.
Giorgio Moroder has given a wide-ranging interview ahead of his first-ever live tour, which is due to begin in April. Speaking to The Guardian, he revealed that he doesn't like the tag of 'the godfather of disco and electronic music' that he's picked up over the years. 'It's better than being called the grandfather, but I still don't like it,' he added. He also reveals in the interview that he was never particularly a fan of going to clubs or dancing. Speaking about the 1977 hit 'I Feel Love' that he made with Donna Summer, he claims that it's not an ideal track for dancing to. 'Can you dance to it? I don't even like dancing, but my wife dances quite well a lot,' he says, before offering that he makes good club music precisely because he doesn't go to clubs. Giorgio Moroder will embark on his first ever live tour on April 1st.
Apple's HomePod makes up just 6% of all smart speakers installed in the US. Amazon Echo, on the other hand, has a 70% share of the installed base, with Google Home at 24%. That's according to a new report published today (February 5) by Consumer Intelligence Research Partners, LLC (CIRP). CIRP analysis indicates that the US installed base of smart speaker devices is 66 million units, up from 53m units in September 2018 and 36m units in December 2017. The number of owners with more than one smart speaker has also increased significantly in the past year with 35% of owners of all smart speakers as of the December 2018 quarter owning more than one, compared to 18% in December 2017. CIRP bases its findings on its survey of 500 US owners of Amazon Echo, Google Home, and Apple HomePod, surveyed from January 1-11, 2019, who owned one of these devices as of December 31, 2018. Josh Lowitz, Partner and Co-Founder of CIRP said: 'Holiday shoppers helped the smart speaker market take off again. 'Relative market shares have remained fairly stable, with Amazon Echo, Google Home, and Apple HomePod accounting for consistent shares over the past few quarters. 'Amazon and Google both have broad model lineups, ranging from basic to high-end, with even more variants from Amazon. 'Apple, of course, has only its premium-priced HomePod, and likely won't gain significant share until it offers an entry-level product closer to Echo Dot and Home mini.' Mike Levin, Partner and Co-Founder of CIRP added: 'Amazon and Google have succeeded in selling multiple units to a single household. 'Their strategies appear to include persuading owners to use smart speakers in multiple rooms, which helps create more active use of the voice platform. And, Google has mostly caught up to Amazon in this strategy. 'A year ago, almost twice the percentage of Amazon Echo users had multiple units as Google Home users. Now, about one-third of both Amazon Echo and Google Home users have multiple units.'
We understand that running a label is a passion for most people - after all, you wouldn't put all that work into something you hated, would you? It takes commitment to make a record label work and despite what everyone says, a record label in 2019 CAN generate money for you. 'But, how?' we hear you cry. Well, once again label Worx has some solid advice for you. The first thing you need to do is lose the 'nobody buys records any more, therefore, labels can't make money' mentality. Yes, it's true that physical sales of music have for the most part fallen, but with technology comes a multitude of other ways to turn your music into money. If you're using Label Worx to distribute your releases, you'll already know how many platforms are available to you - Beatport, Traxsource, iTunes. Amazon Music, Google Play. If your music isn't featured, nobody is going to buy it. And then you've got the big one: streaming. It can be a touchy subject in the music industry, but streaming is here to stay whether you like it or not, so you might as well embrace it. Platforms like Spotify, YouTube and Apple Music are used by billions of people, so once again - if your music isn't featured, nobody is going to listen to it. If you can get all your channels in line, branded, linked and running in unison, there is no reason why you can't turn streaming into your main source of income. You'd be surprised by how much you can make from streaming if you do it properly - that means promoting your releases effectively and efficiently on social media (don't spam people with links, nobody needs that) or with a good PR campaign. YouTube, in particular, is a platform which can be heavily monetised if you grow and develop it properly, it can easily become your main source of income if you get it right. Streaming and stores might be the most obvious source of income, but don't forget that you need to make sure your music is properly registered for publishing, mechanicals and neighbouring rights as a label - there's a lot of money to be made behind the scenes with radio plays and syncs, but if you aren't registered, you can't collect it. If this side of the business is a bit daunting, get in touch - our sister company, LimeBlue, handles Neighbouring Rights for some of the industry's biggest names including Fedde Le Grand, Lane 8, Viper Recordings and more. Of course, none of that is relevant if nobody is interested in your product. Be consistent, be selective with the music you sign - make your brand work for you as much as the product. Successful labels do well because they understand what their audience wants and provide them with a high-quality product every time. Once you've got all that right, then you can start thinking about merchandise and expanding your brand. It's easy to start getting carried away with all the different things running a label allows you to do, but if you haven't got the core foundations sorted, you'll miss out on a lot of money from the start. if you have any questions on ways Label Worx can help you earn more from your label. Contact our label team today.
Last year, there were a few significant developments around streaming and DJing - we covered it in our feature 'Streaming in Coming to the Booth', and almost everyone had a take on how DJ streaming wars would play out. We talked about the impact on royalties, technology, analytics and DJ creativity, as well as how the inevitable march towards cloud DJing could divide the DJ community once again. Since then, Beatport clarified comments they made at last year's IMS, where they claimed they hoped to be able to 'stream Beatport's entire catalogue intro DJ software by 2019'. Well, 2019 has arrived and with it, we've seen SoundCloud announce their intentions to stream into Traktor, Serato, Virtual DJ and more. With the conversation gathering pace, but with plenty of questions still to be answered, we spoke to Beatport CEO Robb McDaniels to get his take on the integration of streaming into DJ software, their acquisition of Pulselocker and how it's going to impact the DJ community as a whole. Beatport CEO Robb McDaniels 'Recent enthusiasm, both publicly and privately, by several large digital music platforms and leading DJ equipment manufacturers for the integration of these two worlds is certainly welcomed by many music fans, especially those immersed in DJ culture. For many reasons, it feels like the dawn of a new DJ experience is upon us, and streaming will become an established format for DJing, with Digital Lockers providing the offline reliability that professional DJs need. However, the prospects of a fully-integrated music access model for DJs raises many questions not previously considered, and it appears that some may be letting their enthusiasm blind them to real-world challenges. 'Early in 2018, Beatport purchased the assets of Pulselocker, including the patents and technology for their digital locker that integrates a digital retail store into DJ performance software and tracks the plays - as well as the track order, duration of song performance, cue points and other important metadata elements - in online and offline mode. 'It's important to dig deeper into the technical details of integrating a digital retail store into DJ performance software applications. While offline mode playback and tracking is common in today's music market, with companies like SoundCloud and Spotify allowing their users to do so as part of their subscription, this functionality is only enabled within their own apps. 'This is the key difference when contemplating offline playback within a third-party DJ application such as Rekordbox, Traktor or Serato DJ; the songs are actually performed at the direction of those applications and not the host digital retail store. This seamless, interoperable experience, particularly in offline mode - which is an obvious imperative for any serious DJ playing a live set - is what Beatport's new technology enables.' Beatport 'Which brings up another very important difference in this newly proposed DJ paradigm: the moral obligation to protect the economic interests of our global DJ community and the legal rights to allow the commercial exploitation of music being played through DJ performance software. For Beatport's 15-year history, we have focused solely on serving professional DJs with the best electronic music for the primary purpose of publicly performing that music in front of thousands of fans. A download from Beatport means so much more than a download on iTunes or a thousand streams on Spotify because our customers are the world's music tastemakers, and expose a massive audience to whatever they play in their set. 'Simply put, Beatport is primarily a B2B service, focused on professional DJs, or those aspiring to get paid for their talents. However, most digital music retailers are limited by their existing license agreements with labels and publishers that only permit 'personal use' of the music on the platform. By integrating with DJ performance software companies, there can be no doubt that these retailers will knowingly be providing access to their catalogues primarily for commercial or professional use. 'For example, when a DJ will play a set accessing music from the Beatport store, we will know what they played, where they played it and how long they played it for. This opens up a world of possibilities to empower the creative community with more data to improve the collection of royalties owed and fans reached, but it also comes with a set of legal and moral responsibilities for digital music platforms. 'Pulselocker was way ahead of its time in bringing their digital locker for DJ performance software to market, but now it seems the rest of the industry is ready for this next leap in the evolution of DJing. As we have said previously, Beatport is planning to launch with all major DJ performance software companies in 2019 and we look forward to leading the way for the independent music community. The access model for DJs will open up a wealth of opportunities to obtain more real-time metrics and reports to raise the tide for everyone. We take this responsibility very seriously and want to ensure that all participants in our ecosystem are fairly represented and compensated.'
There's a widespread perception that paid streaming subscriptions have become recorded music's lifeline, restoring the sector to a state of growth and driving its ongoing global expansion. In fact, the influence of paid music streaming is so powerful that the word 'Spotify' now serves as a shorthand across several industries for a supposedly more convenient, streamlined user experience built on content aggregation: think 'Spotify for news', 'Spotify for audiobooks', even 'Spotify for comics'. Capitalizing on this positive association, both Universal Music Group and Sony Music Japan are also reportedly building their own streaming products, part of which is likely to revolve around individual artists. But while a subscription model might be the new table stakes for staying competitive, it's certainly not sufficient for success - and the music industry presents an exemplary case study. Consider how Spotify and Apple Music continue to grow at an accelerating pace, but the likes of YouTube Music and Tidal are falling far behind. Or how major labels have repeatedly tried to launch and maintain their own shared streaming services over the past few decades, to no avail (remember Pressplay and MusicNet?). Or how even the biggest celebrities with tens of millions of followers have difficulties maintaining their own branded subscription apps. In all of the above examples, companies either mischaracterize the kind of work that goes into running a subscription business or wrongly assume that the brand value and user loyalty of a company like Spotify or Napster is easily transferable merely by stealing their business model. In reality, taking on a subscription model in music will work only if the added benefits align with the core value that the product in question has already been delivering to its most loyal users. With this approach in mind, there is a diversity of subscription services that can thrive in the music industry in 2019, beyond just the all-you-can-eat, pro-rata-payment Spotify model - with the proper execution. We can divide this emerging landscape of subscriptions into a four-tiered pyramid, pictured below: The boundaries of these four categories are permeable and imperfect, but the most important takeaway is that moving up and down the pyramid means making tradeoffs on metrics. Subscription services further up the pyramid attract relatively smaller audiences with a higher degree of loyalty to a given artist. In contrast, those further down the pyramid attract much larger audiences but tend to face more fleeting attention spans and listening habits from consumers. Head to Music Business Week to read more about each, individual streaming service.
Spotify may be preparing for a late-January launch in India - with or without major label deals in place. Several months ago, after launching in the Middle East and North Africa (MENA), Spotify was reportedly eyeing another part of the globe. Frenetically making deals with major Indian rightsholders, the streaming music giant now looks ready to launch in India. With the service set to roll out in the first quarter of 2019, Spotify announced a significant deal last week. The streaming music giant confirmed its partnership with T-Series, a major music and film company. T-Series boasts over 160,000 songs in its catalogue. The company also arguably has the world's largest YouTube channel, with more than 80 million subscribers. T-Series' original videos have over 58 billion times. Now, we may officially have a date for Spotify's launch in India. A slip-up may have confirmed the streaming music giant's date. An eagle-eyed user found an unexpected update to Spotify India's terms of service. The company had quietly added the service's Terms and Conditions of Use would go into effect January 31st, 2019. Following the image's publication, Spotify has since taken the page down. The image confirmed a recent report stating the service would launch on January 31st. Per Variety, should the service launch at the end of this month, it may do so without important licensing deals. Spotify apparently has yet to lock down deals with Sony, Universal, and Warner Music Group. Instead, the company will rely on its deals with major Indian rightsholders, including T-Series. These include commercial Hindi music, Bollywood soundtracks, and regional music in five languages - Punjabi, Tamil, Telugu, Malayalam, and Bengali. This reportedly signals Spotify has made landed deals with local record labels specializing in these languages. Yet, Spotify faces stiff competition in India against streaming music services with Western catalogues. Gaana boasts 75 million users in the region and owns 50% of the Indian music market. The streaming music service also recently secured $115 million in funding from Tencent and Times Internet. In a $1 billion+ deal, Saavn merged with JioMusic last June. It also most recently unveiled its own combined streaming music service - JioSaavn. Reliance Limited, the platform's parent company, has pushed a 90-day free trial to JioSaavn Pro. The unified streaming music service has a catalogue of 45 million songs, along with over 900+ label partnerships. This includes Sony, Universal, and Warner Music. Other local players include Google Play, Apple Music, Amazon, Hungama, and Airtel Wynk. To counter these recent moves, Spotify will reportedly unveil an extended free-trial period in the region. It will also likely face an uphill battle to convert free users to subscribers. Yet, without major deals locked down, how will Spotify India look, exactly? Shall local users expect to find Western and other international music on the service?
Just four months ago, the music industry was claiming a major legislative victory over YouTube in Europe. The European Parliament voted through a draft version of the new European Copyright Directive in September last year, complete with the controversial Article 13 provision - which aims to force user-upload services to face legal responsibility for copyright infringement on their platforms. Since then, however, this celebratory spirit has crumbled, with music rights organizations admitting that recently proposed versions of the Copyright Directive '[do] not meet the original objective of Article 13' - namely 'correct[ing] the distortion of the digital market place caused by User Upload Content (UUC) services'. Making matters worse, on Friday (January 18), Europe delivered another major blow to the music industry's hopes. Member states of the EU were due to gather in Romania to approve the latest draft version of the Directive, but, instead, eleven countries reportedly voted against it - many citing concerns over Article 13, as well as the similarly contentious clause, Article 11 (dubbed the 'link tax' provision).
Do you love Dance and Electronic Music and are looking to start a career in the music industry? If yes, a job with Label Worx could be perfect for you. Label Worx is at the very forefront of the digital space in Dance music and pushing boundaries by delivering cutting edge digital tools and services to independent record labels worldwide. We are expanding and currently looking for hardworking people who have a passionate interest in Dance music and club culture to join our growing team. Internal training is provided where required and there are opportunities to progress further within the company.
We get asked a lot of questions. A LOT. But the one that seems to come through time and time again is about how to secure those lovely-looking store banners and features. Despite what you might think, this isn't a feature reserved for the bigger labels, and some people think that we automatically secure them for you (we don't) - but what we can do is help you pitch for them and there is plenty you can do to ensure you have the best chance of getting that all-important store support.
Who released the biggest songs and albums in the United States last year? Now we know. Market monitor BuzzAngle has unveiled a handful of officiated Top 25 charts for 2018, covering US-based streams and sales across both albums and single tracks. The headline news? It's hip-hop (again).
Renowned audio equipment company Technics is rumored to unveil a new turntable in its iconic SL-1200 series at an event this weekend in Las Vegas. Taking place January 7 during the annual CES trade show, Technics is hosting an event at Club Hyde in the Bellagio Hotel called Technics7th. According to the company, 'the event will focus on the SL-1200 Series with performances by globally renowned DJs who are also fans of the legendary series,' including Kenny Dope, Derrick May, Cut Chemist and DJ Koco.
To welcome our labels into the new year, we are offering up to 30% discount on Royalty Worx subscriptions. These offers will be available throughout January and with your Q4 statements fast approaching, now is the perfect time to get your accounting in order. Here is an overview of the savings available:
Here at Label Worx we're happy to announce our new in-house label, HOT-Q. Specialising in themed compilations, concentrating on moods and experiences rather than the traditional genre-based compilations, HOT-Q will release several new titles each week, starting 31st December with the first volumes of Beast Mode Training and Mellow Vibes. The aim of HOT-Q is to produce quality compilations that highlight some of the amazing records - from well-known cuts to undiscovered gems - distributed by Label Worx. We have access to a huge range of music from across multiple genres and want to share more of it with you. Each release is themed around an activity, mood, experience or style, meaning that there will be a HOT-Q release perfectly tailored for whatever you're doing, whether that's working out, commuting, studying, partying or chilling. Make sure you check out the first batch of releases when they drop on all stores from the 31st December.
With approximately 25,000 new releases added to Beatport each week, they receive a lot of quality music. This year the staff have picked their favourite tracks from each genre and we're pleased to announce that a lot of the labels we work with have been selected for these charts. We would like to send a huge congratulations to all the labels involved, especially the label clients that we work with. Although we have labels spanning across all 31 genres on Beatport, here are some of the highlights from some of Beatports more popular genres.
Where the hell did 2018 go?? Here at Label Worx it felt like the last 12 months zipped past faster than ever before. We've been busy little bees, with plenty of new developments, innovations and ventures that have meant our feet have hardly touched the floor. We've worked with more labels and artists than ever before, and have had some spectacular feedback from clients about our services, for which we are hugely grateful. This year we've added a huge range of labels to our client list: World Famous Headquarters (Botnek), Let Me Understand (Santos), Farris Wheel Recordings (Gene Farris), L'America (FANGS), ARROW Recordings (J.Worra), Jango Music, Maya Records, Glasgow Underground and many more, further establishing Label Worx as the go-to distributor for dance music labels, while D-Vine Sounds, UNDR THE RADR, Brobot Records, Bunny Tiger, No Art, Circus Recordings, PAWZ, Woah! Dad, Stealth Records and Viper Recordings have additionally taken advantage of our Accelerate program. We are humbled that such a range of labels and artists have entrusted us with their music, and are constantly working to hone our service. Thanks to each and every one of you! So in the time honored fashion of looking back before launching ourselves headlong into the festive madness, here are a few highlights from 2018. We've always tried to stay on top of innovation, especially when it comes to saving our clients time and money, and so a lot of time has been devoted to developing and launching additional products. One hugely successful example of this has been the Release Copy Tool, which has allowed labels to duplicate a release to reupload streaming edits of tracks, which is a huge time saver. We've had huge focus on streaming over the last few years, and this is another step in the right direction when it comes to allowing labels to efficiently exploit their catalogues. Similarly focused on time-saving is the introduction of our Traxsource Stats. This enables labels to check your release features, chart positions & DJ chart inclusions on Traxsource, all from one handy place without the rigmarole of trawling through the site: a labor every label owner has had to endure at some point. We've also continued to develop further system integrations with both Facebook and Instagram. We now have a system that allows brands and influencers to use releases distributed through us on Instagram Stories. Outside of Label Worx, it's been a hugely encouraging year for both Spektrum Talent and Lime Blue Music. With Spektrum, 2018 has seen us book and promote sold-out debut US tours for several of our artists, significantly increasing their global profile. We now represent Sam Divine, GAWP, Gene Farris, Jody Wisternoff, Junior Sanchez, Rene Amesz and more world-class talents, handling all logistical and promotional aspects for the artist and leaving them in a creative frame of mind to further develop their sound and brand. Perhaps most important of all, our latest innovation, Lime Blue Music, focuses on one of the least understood - but arguably most lucrative - aspects of music accounting: neighboring rights. Lime Blue Music specializes in the worldwide management, collection and distribution of neighboring rights, one of the fastest growing revenue streams in music. So if your recordings have been broadcast on radio, TV, in a public place such as a bar, restaurant nightclub, festival, or on new media somewhere in the world, then there is revenue waiting for you, and we can help you get it. Clients include Fedde Le Grand, Tritonal, Fatman Scoop, Chillhop Music, Tommie Sunshine, Glasgow Underground and Toolroom, all of whom we have helped explore and exploit a previously untapped revenue stream. With all this going on it's hardly surprising that we've had to expand, and recently welcomed Reece Sheppard to our Label Management team. Reece has already proved himself to have a keen eye for impeccable data management as well as a phenomenal knowledge of all things from house and techno, to jungle & D&B, and has fitted into the team instantly. Even more recently, Simon Burkumshaw has also joined our senior team. Simon previously worked as A&R for Defected and label manager for Madtech & Madhouse records. He continues to run his own brand and event's, Sense Traxx, and we're proud to welcome him aboard. We're a tight family at Label Worx, so to have found these two amazing human beings who fit the bill both professionally and personally, sets us up brilliantly for the New Year. So that was 2018 in a fairly tightly-packed nutshell. We've had an absolute hoot working with each and every one of you, and even though it's been emotional, and at times downright exhausting, we wouldn't change it for the world. Finally, if one of your new year's resolutions is to get your label in the best shape possible (and it absolutely should be!), check out Connor's wise words for getting ahead in 2019 Thanks for being part of Label Worx, and see you in 2019! The Label Worx Team x