Quite expected forecast from Armada's CEO. Let's make our own steps to #decentralization.
#MusicIndustry #Music #AI #artists #MusicBusiness #Streaming

Luminate claims ‘consensus’ but Indies still want delay in Billboard Chart sales data changesLuminate will proceed with changes in how it counts physical sales from independent music stores used to calculate the Billboard Charts despite significant pushback from the independent community. Yesterday, Luminate. Continue reading
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Bandsintown unwraps shareable live music High Notes for ArtistsBandsintown has released High Notes, its annual shareable graphic recap of an artist’s year performing live. High Notes is designed to be shared by artists to thank fans, grow their. Continue reading
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2024 Music Industry Predictions from Jay Gilbert of Label LogicWe’ve been sharing a series of 2024 Music Industry Predictions from our favorite thinkers and doers, and today, Jay Gilbert takes the microphone. Regular Hypebot readers know Jay as the. Continue reading
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State of the music creator economy – The consumer era MIDiA is excited to announce the publication of the latest edition of its annual ‘State of the music creator economy’ report. Based on months of research, MIDiA creator and consumer surveys, market sizes and forecasts, this report is the definitive assessment of the music creator tools industry. The report is available to clients here.

The highlights:

The pandemic triggered a surge in the music creator economy, bringing an influx of interest and investment. Suddenly, everyone was talking about music creator tools while investors ploughed investment into leading companies, like Native Instruments and Splice, while newer entrants, like LANDR, carved out new models. 

By 2022, the industry found itself in a post-pandemic lull – always a possibility, even before the subsequent cost-of-living crisis. But, as our report reveals, the slowdown does not represent a sector returning to a pre-inflated level, but instead, a natural rebalancing before long-term, dynamic growth kicks in. This is because the pandemic did not create the market but catalysed an already growing sector, driven by a new wave of creators focused on simplicity and efficiency. The pandemic compressed three years of user growth into one and a half years, so slowing revenues are, in large part, a reflection of the bedding in of this cohort. 

But it is post-pandemic trends that will grow the market most: a) the rapid rise of AI, and B) the rise of the consumer-creator. Consumer-creators transformed photography (Instagram) and videography (TikTok); music will be next. Not only will casual music creation become mainstream, it will trigger an unprecedented widening of the music creator economy funnel. So the market’s future will be defined by: 

Simplification

Consumerization 

Perhaps the clearest sign that the music creator space continues to grow at pace, despite lacklustre results from some key companies, is that the number of creators grew by 12% to reach 76 million, with the number of those who upload their music growing by more than double that rate. Interestingly, the number of artists who self-release into the traditional streaming supply chain grew at half this rate. A forking of the music business is taking place before our very eyes, with the streaming ecosystem playing the traditional establishment, and social apps and new platforms, like BandLab, representing a new, future-facing, creator-centred ecosystem. 

Humans like to think of history in chapters, and music is no different – sorted into neat sections: the CD, piracy, downloads, streaming. We are now entering the creator era. A paradigm shift that will see the creator become centre stage, with creation itself being entertainment, and fans being given ever-more ways to participate and create themselves.

The new, post-streaming models will be defined by characteristics that are almost mirror opposites to the DSP model: 

Creator-centric versus rights-centric 

Creation versus consumption 

Dynamic versus static 

Non-linear versus linear 

Fans versus audiences 

The streaming-centred music business and creator tools used to be separate industries but they are now becoming part of one, extended value chain. With revenues of nearly six billion in 2022, and rising to $10 billion by 2030, the creator tools sector is going to have both commercial and cultural transformational impact. Though hardware will continue to be a crucial part of the market, creation is becoming increasingly virtual, software, sounds and services will account for the majority of future growth.

The growth of the creator tools market to date has resulted in a surge of new tools and services. In fact, there are too many, making it hard for creators to identify what they need and why. Cloud services, such as the recently launched FL Cloud, which combine multiple tools to create joined-up workflows, are a new and important part of the market. This reaggregation approach will become far more prevalent, with subscriptions gaining share, up from a quarter of software, sound and services revenues in 2022, to nearly a third in 2030.

AI will, of course, also be a key growth driver, building on an already long history in creation. Current music AI tools cluster around three groups: 

Assistive tools 

Generative creator tools 

Generative consumer tools 

Established creators will increasingly use generative tools as sound sources, but they will play a more foundational role for younger, newer creators. AI’s biggest impact will be its opening up of the consumerization of music, which itself will comprise of three key components: 

Voice

AI

The phone 

The days of audience, creation, rights and distribution being discreet sectors are numbered. Creation is going to become the linking element, with a new generation of fast-moving creators opting into new models that enable them to operate across all elements simultaneously. The shift of cultural capital will be industry-changing and, in this context, ByteDance launching its creator tools, Mawf and Ripple, demonstrates it is staking its claim to be a key player in this brave new world.

Even though this post covered a lot of ground, it is only a tiny fraction of the 7,000 word, 46 page, 18 figure report! It includes four sections, covering:

Music creators

AI

Market size

Future models

With deep data on music creators, consumer creators, market sizes and forecasts, AI vendor mapping and future business models, there is simply no other report you need to understand both the creator tools market and its growing influence on music business and culture.

If you are not yet a MIDiA client and would like to learn more about how to become one, email stephen@midiaresearch.com.

Finally, here is a list of the companies and brands mentioned in the report: Ableton, Amp, Apple, Arturia, Audiocipher, Avid, BandLab, Bandzoogle, Beatclub, BeatStars, Boomy, ByteDance, CD Baby, Coursera, Discord, Discovery Mode, Distrokd, Fender Play, Final Cut Pro, Fiverr, Focusrite, FL Cloud, FL Studio, FRTYFVE, Google, HIFI, IK Multimedia, Image-Line, Instagram, iZotope, Jamahook, Korg, LALAL.AI, LANDR, LANDR Network, Linkfire, Live, Logic, Loopcloud, MasterClass, Mawf, Meta, Moises, Moog, Native Instruments, Neutron, Pandora, Ripple, Roland, SongStarter, SoundBetter, SoundCloud, Songtradr, Spitfire Audio, Splice, Spotify, Stem, Submix, Suno Chirp Bot, Symphony OS, TB303, TikTok, Tracklib, TuneCore, United Masters, Waves, Yamaha, YouTube, YouTube Shorts 

Spotify is chasing annual profitability. SoundCloud’s already there.Company's revenues projected to be up 9% YoY in 2023
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Renowned Engineer Rich Travali Relocates to NashvilleAcclaimed audio engineer and mixer Rich Travali has officially set his sights on Nashville, Tennessee, marking a significant move for the industry veteran with his recent relocation to Music City. Travali, a GRAMMY®-, Emmy®- and TEC Award-nominated mix engineer with over 50 platinum and gold albums and over 140 million in record sales, has now made Music City his home and is ready for the next phase of his professional life.

With an impressive career spanning three decades and a discography that reads like a who's-who of the music industry, Rich Travali is a sought-after talent in the recording industry, recognized for his exceptional work with a wide array of artists. Known for his meticulous attention to detail and a creative flair that transcends genres, Travali has played a key role in the recordings of some of the biggest names in the industry, including Robin Thicke, Gwen Stefani, Jay-Z, Jennifer Hudson, Pharrell and The Neptunes, to name just a few.

Beginning his professional career at New York City’s legendary Hit Factory Recording Studios, assisting world class engineers and mixers like Roy Halee, Travali honed his skills not only at the Hit Factory but prominent New York studios such as Chung King, Soundtracks, Platinum Island and elsewhere, eventually mixing numerous platinum and gold records, with Billboard number-one hits in the pop, R&B and hip-hop genres.

“I was very fortunate to work at the Hit Factory with a lot of different artists, but the real formative relationship that I made there was with Paul Simon and Roy Halee. Roy, being Paul's long-time co-producer and engineer — he’s absolutely world-class,” stated Travali. “If anybody was a mentor to me, it was Roy. I worked with a lot of other producers and audio engineers, but Roy was really the guy who I spent years with and was my main influence on so many different levels, and I’m very happy about that because he’s truly world-class in every way. Just listen to his body of work – it speaks for itself!”

Hiring? A list of 600+ ‘smart, talented’ laid-off Spotify staffersSpotify laid off 1500 of its estimated 9000 global workforce earlier this month. That followed a 600-person reduction in January, with 200 more let go in June. Now, a crowd-sourced. Continue reading
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2024 Music Industry Predictions from Maykel Piron of Armada MusicMaykel Piron, co-founder and CEO of Armada Music, shares reflections on the last year and predictions for 2024. Between now and the end of the year, Hypebot will be publishing a. Continue reading
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The growth of O.N.E The Duo: A true independent artist success storySymphonic shares the behind-the-scenes success story of helping to guide the growth of independent mother-daughter country music artists, O.N.E The Duo. by Randi Zimmerman of Symphonic Blog Here at Symphonic,. Continue reading
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LimeWire unwraps AI Music Studio for crafting ‘fully ownable’ AI-generated tracksThe former illicit file-sharing platform has been reborn as an NFT marketplace and AI content generation platform.
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Snoop Dogg launches ‘Death Row Pro’ production music unit in partnership with Sony Music Publishing’s Extreme MusicDeath Row Pro to serve as a production music arm of Death Row Records, for licensing newly created music for TV, film, ads etc.
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Universal Music Group is worth more than $50 billion, as firm’s share price hits highest point in 2 yearsUniversal's market cap is currently around $12 billion higher than Spotify's
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DistroKid Launches Mobile App for AndroidDistroKid, the world’s largest distributor of independent music, unveiled today its first-ever mobile app for Android. Earlier this year the company launched its first mobile app for iOS which to date has been downloaded more that half a million times. Like its iOS predecessor, the new Android app puts DistroKid’s powerful suite of tools directly in the hands of artists, enabling them to upload new releases, receive instant payment alerts, access stats from Apple and Spotify, edit metadata, and more–right from their phones.

The DistroKid app is available for download here: https://distrokid.com/app

“DistroKid’s mobile app for iOS has been hugely popular,” said Matthew Ogle, Chief Product Officer at DistroKid. “We’re so excited to give millions of Android users around the world access to the same streamlined experience, so they can distribute and manage their music directly from their mobile device.”

Over the last year, DistroKid introduced other innovations to its platform. Earlier this year, the company unveiled Mixea, an AI-powered intelligent mastering tool that helps artists instantly make their music “radio ready” by optimizing bass, compression, stereo enhancement, EQ, limiting & loudness.

Late last year, the company launched DistroVid, a service which enables users to upload music videos to Apple Music, Tidal and Vevo. DistroKid was the first music distributor to offer this kind of deal to artists – unlimited full length music video uploads for one low price.

These were just the latest in a suite of services developed by DistroKid to help artists work faster & become more prolific. These innovations build upon DistroKid’s basic offering – unlimited music distribution – plus more than 20 free tools that help artists have fun, make music & get heard.

In September DistroKid acquired Bandzoogle, whose powerful tools enable artists to easily create websites and sell their music directly to their fans.

As always, DistroKid pays artists 100% of their earnings.

About DistroKid

Founded in 2013, DistroKid distributes 30-40% of all new music in the world. They have built their business on providing musicians, managers and record labels with online tools and services that are innovative, easy-to-use, and affordable. More than 2 million artists rely on DistroKid, including hobbyists, up-and-coming musicians, top influencers, and international stars. DistroKid’s expanding array of services include music distribution, monetization, metadata customization, storage, and promotion. DistroKid’s skilled staff, coupled with a largely automated backend, has enabled DistroKid to process more than 25 million songs, while simultaneously providing fast, personal & friendly customer service to artists of every size.

Apple eyes paying extra for music in a format Spotify doesn’t offerApple Music may soon pay all artists that release music in the Dolby Atmos spatial audio format a higher royalty rate than regular stereo mixes. “Listeners wouldn’t necessarily have to. Continue reading
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