BIG BAND NIGHT AT THE HOLLYWOOD BOWLThe distinction between the general term “big band music” and the fabulous Swing era oftenassociated with the term comes clear at the end of the first paragraph in the Wikipedia entryabout the beloved style. Technically, we learn, “a big band or jazz orchestra is a type of musicalensemble of jazz that usually consists of ten or more musicians with four sections.” And then:“The term “big band” is also used to describe a genre of music, although this was not the onlystyle of music played by big bands.”The Hollywood Bowl described their Big Band Night as one where “some of the biggest bigbands in the land take the stage for a night of swinging good times.” Those who attended thevenue’s Big Band Night thinking they would be swing dancing to timeless Glen Miller or BennyGoodman tunes may have left disappointed, but the three large ensembles that performed –Clayton-Hamilton Jazz Orchestra, Count Basie Orchestra ft. guest vocalist Nnenna Freelon andMaria Schneider Orchestra – offered an eclectic blend of dynamically arranged jazz marked byexciting swells of brass, buoyant rhythms and (most significantly), a seemingly endless blaze ofcolorful, richly improvisational horn solos.Closing in on its 40 th anniversary, the L.A. large ensemble treasure known as the Clayton-Hamilton Jazz Orchestra opened in robust, high-energy form, with the great Rickey Woodard’spowerhouse sax solo standing out over the whimsical swing of “Georgia” and a cool rompthrough Horace Silver’s “The Jody Grind” featuring fiery, percussive brass flourishes andanother hot, smoky sax solo. In a set unfortunately limited to four tunes, a grand unexpectedhighlight was their choice of Billy Joel’s gorgeous yet somber and meditative “And So It Goes.”After a reflective, easy swaying intro section, the heart of the melancholy melody was expressedvia the beautiful solo bowing of leader/bassist John Clayton on the upright.Led since 2013 by trumpeter Scotty Barnhart, the Count Basie Orchestra has been a magnificent,ever evolving constant in large ensemble jazz for nearly 90 years. Easily providing the mostconsistently exciting performances of the night, the group got off to a speedy, whimsy filled startwith the dizzying piano of Glen Pearson, who traded fours with the intensely percussive,swelling horns before an explosive onslaught of competing, fiery sax solos. The openinginstrumental portion of their set included Basie staples like “Easin’ It” and “Doodle Oodle,” butthe most memorable, enduring highlight was their lush, soulful and ultimately vibrant spin onStevie Wonder’s “My Cherie Amour,” which began with a graceful piano solo by Glen Pearsonbefore the band strutted its intimate romantic, slow danceable stuff.Bringing an even more deeply immersive emotional feeling to the show, guest vocalist NnennaFreelon gave everyone a lift with her heartfelt, dramatic take on “I Like The Sunrise,” which shefollowed with a stylist sultry twist on “They Can’t Take That Away From Me” (which shecuriously introduced with a wordless operatic chant), a slow burn through “Black Iris” and aspirited, devil may care version of “Too Close For Comfort” that called to mind Dianne Reeves’sublime version in the film Good Night and Good Luck.

After all the amiability of Clayton-Hamilton and Basie and their many familiar tunes, theuniquely conceptual original offerings by the Maria Schneider Orchestra gave the audience a bitmore of a challenge. She and her much-hailed Grammy winning crew complemented fairlymainstream, tuneful pieces like the opening number “Bluebird” (which featured a charmingaccordion solo) and “Green Piece” with more unusual exploratory compositions that tapped intothe avant-garde side of her eclectic artistry, including the trippy, atonal space odyssey “Sputnik”(headlined by saxophonist Scott Robinson’s eerie notes) and the intentional cacophony of“American Crow,” an off-kilter, multi-mood swinging musical reminder of our country’s currentstate of sociopolitical disarray. Trumpeter Michael Rodriguez’s extended lyrical solo offered amuch-needed oasis between the more chaotic segments.

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Sony’s $600m Michael Jackson deal isn’t completed yet – but it just took a big step forward in courtSony's deal to acquire a 50% stake in Michael Jackson's publishing and recorded catalogs has cleared a major hurdle
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The frequency factor – when daily just isn’t enoughIn our digital lives today, we tend to use our favourite apps throughout the day. So, why does the entertainment tech industry still focus on daily, weekly, or, in way too many cases, monthly usage (we’re looking at you, Spotify!). The answer is simple, the less frequency your measure of activity, the bigger your audience figure. We are at the point where we need to move beyond inflated vanity metrics. Even the radio industry now measures in weekly usage terms. Meanwhile, Meta has long reported daily users. However, even daily stats are not enough to really understand an audience’s behaviour. This is why MIDiA has launched frequency tracking in our new report: “Entertainment behaviour: The frequency factor”. Here are some of the key insights from the report.

We tracked entertainment consumption across music, video, games, podcasts, radio, and social. For each we measured total time spent, the day parts in which these activities were conducted, and then the usage of the most popular apps for each. This is where we dialled up the measurement, looking not only at weekly and daily usage, but also how many times a day the apps were used.

It will come as little surprise to learn that today’s entertainment consumer fits a lot into their week, with consumption fragmented across a mass of behaviours. Video leads, accounting for over 40% of time, followed by audio (boosted by a still sizeable audience of radio listeners), music, social, and finally games. When you think about the role social media plays in our lives, this usage hierarchy might feel counter intuitive. But this is where measuring frequency of daily behaviour comes into its own, providing us with clear pointers as to why this is the case.

For example, Netflix daily active users (DAUs) use the app around four times a day, while TikTok DAUs are on the app more than six times a day. Around a sixth of TikTok’s users are on the app more than five times a day, compared to 5% or less for Disney+ and Apple TV+. 

There are big variations within entertainment formats too. For example, it is the more niche music apps like TIDAL, Deezer, and Endel that have the highest rates of daily frequency, while more mainstreams apps like Spotify and Amazon’s Prime Music have some of the lowest. For example, Deezer’s daily frequency rate is more than a third higher than Prime’s, while TIDAL’s is just under a third higher than Spotify’s.

Daily frequency is still only part of the answer, however. To truly understand entertainment behaviour, we need to look at when they are consuming different forms of entertainment and what else they are doing at the same time.

When we look at which time of day people consume entertainment, social and music have the largest shares in the morning. Both steadily lessen in share towards evening but social rebounds at nighttime. The more passive music behaviour then makes way for video and audiobooks. As evening turns to night, people typically do less and so have more attention for less passive formats. It is the primary activity that really shapes entertainment behaviour. For example, a fifth of consumers listen to music at work / school, which is more than four times higher than for video. Similarly, more than twice as many active podcast listeners do so while on a walk compared to active gamers that play games while walking. Some entertainment formats are tailor made for doing alongside daily activities, while others might result in you walking into a lamp post.

If you like what you have read here, check out the full report. It is awash with data, featuring a 60-slide report and a data file with nearly 400 segments and more than 300,000 data points (yes, you read that correctly!).

If you are not yet a MIDiA client and would like to learn more about how to become one, or how to get access to this report and data, please email commercial@midiaresearch.com.

14 NBA teams sued for copyright infringement over alleged use of music in social media posts without permissionThe lawsuits target 14 teams, including the New York Knicks, Orlando Magic, Cleveland Cavaliers and Indiana Pacers, among others
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#ThankYouSteveAlbini: A tireless advocate for musiciansTouch and Go Records is using the hashtag #ThankYouSteveAlbini to turn today, Monday, July 22, which would have been Steve Albini’s 62nd birthday, into a celebration and an opportunity to. Continue reading
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Positive Trends for Independent Musicians: Insights from Luminate 2024 Midyear ReportThe Luminate 2024 Midyear Report reveals positive trends for independent musicians and highlights critical shifts in consumer behavior, streaming patterns, and emerging genres.
The post Positive Trends for Independent Musicians: Insights from Luminate 2024 Midyear Report appeared first on Hypebot.

Increase your YouTube Subscribers with this Easy HackDiscover an effective method to increase your YouTube subscribers using a straightforward link hack. This guide provides step-by-step instructions to help you optimize your subscriber growth effortlessly.
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Getting It Done: The Week in D.I.Y. & Indie MusicThis week, our tips and advice for independent, do-it-yourselfers offered a look inside a social media music marketing campaign, how to manage link rot, one-sheets for music promotion, music and. Continue reading
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REWIND: New Music Industry’s Week in ReviewIt was a busy week filled with important music industry news. Berklee College named a new but familiar President, Spotify’s value soared, musicians struggled on tour, and much more.
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DISCONNECTED SOULS Sign To Layered Reality ProductionsProgressive/ cinematic metal quintet DISCONNECTED SOULS have signed to Layered Reality Productions (LRP). Following the digital release of their debut album Fragments Of Consciousness in the beginning of this year, both LRP and the band are now working on a physical release of the debut album slated for the second half of 2024. New music videos are also due to land over the coming months, with a special new and original single planned for this coming winter. 

Fletch (the bands’ founder) had this to say:

“This project has evolved a lot since I originally conceptualised it, but the one thing that hasn’t is my goal to work with the brightest and best to deliver quirky and chaotic music and this is exactly what we’re going to continue to do!I’m not one of those people who’s always dreamed of being on a label, but having seen the hard work and talent behind the LRP, they couldn’t be a better fit and it’s going to be a pleasure and privilege to work closely with Tom and co moving forward! They’re a talented group who are working tirelessly to support the progressive scene. I am very excited for the future of this partnership!”

Tom de Wit of Layered Reality Productions comments:

"After releasing their album Fragments Of Consciousness digitally earlier this year, it was clear to us at LRP that we wanted to work with this band. And the feeling was (fortunately) absolutely mutual!"

www.disconnectedsouls.comThe post DISCONNECTED SOULS Sign To Layered Reality Productions first appeared on Music Connection Magazine.

Native Instruments Announces Traktor Pro 4 DJ SoftwareNative Instruments today announced Traktor Pro 4, the latest version of their flagship 4-deck DJ software. Building on the core features that made Traktor Pro the go-to software for hundreds of thousands of DJs around the world, the latest version brings next-generation creative tools including flexible beatgrids, high-quality stem separation, Ozone Maximizer, and Pattern Player. Wherever you are and whatever you’re playing, Traktor Pro 4 gives you the freedom and flexibility to mix your own way.

What’s new in Traktor Pro 4? 

Stem Separation powered by AI and RX Transform the way you mix and remix with stem separation powered by AI and iZotope’s legendary RX technology. Precisely isolate and manipulate drums, bass, instruments, and vocals individually. With each stem waveform right in front of you, you can apply filters and effects with a high level of accuracy to get everything sounding just right. 

Flexible BeatgridsTraktor Pro 4’s flexible beatgrids are ideal for moving between genres or mixing tracks with a changing tempo. With flexible beatgrids you can precisely follow each tempo change throughout a track, enabling highly accurate looping, beat jumps, beat effect layering, and beat alignment—all without impacting the audio quality.

Pattern PlayerBring the sounds of iconic drum machines and leading producers to your sets. Pattern Player is packed with percussion kits including the signature drums of industry legends like Rebekah, Luke Slater, Len Faki, Chris Liebing, Dubfire, and many more. 

Ozone MaximizerTake your sounds and sets to new heights while protecting the mix from clipping and distortion. Ozone Maximizer utilizes technology from iZotope’s award-winning Ozone mastering software. Its Intelligent Release Control allows you to finally boost the loudness of your sets without distortion. 

Traktor Pro 4 features

Core functions

Complete control over up to four decks in Track, Stem, and Remix Mode

Highly reliable Sync to keep everything sounding on point

[New] Advanced flexible beatgrids for precise effects, looping, navigation and mixing between tracks with changing tempo

[New] Ozone Maximizer with iZotope’s award-winning technology to boost loudness while preserving transients and dynamics

Mix recorder to record your sets

A range of EQs and filters modeled on industry-standard mixers

Key detection and shifting feature for harmonic mixing

Smart Playlists for efficient library organization

[New] Two free months of Beatport Streaming Advanced or Beatsource Streaming

Creative tools

40+ studio-grade Native Instruments effects to transform your tracks, available in four chainable Deck FX slots

Mixer FX for quick and easy effect layering

[New] High-quality stem separation powered by iZotope’s pro-grade RX technology, including four-track waveform display

[New] Pattern Player packed with drum patterns from iconic drum machines and the signature sounds of leading producers

Additional free remix sets available to download

Reliable looping, hot cues and beatjump functions, plus high-quality timestretch algorithm

Remix decks for adding samples and effects and triggering them in sync with the rest of the mix

Integration and compatibility

Best-in-class timecode vinyl tracking

Plug-and-play support for CDJs and most club mixers

Ableton Link and MIDI clock support for seamless integration with hybrid performance setups

Deep MIDI mapping for personalized mapping of any compatible hardware and software

Compatible with all Traktor hardware and mappable with any DJ hardware

Supported audio formats: MP3, WAV, AIFF, Audio CD, FLAC, Ogg Vorbis, non-DRM AAC
The post Native Instruments Announces Traktor Pro 4 DJ Software first appeared on Music Connection Magazine.

From the $2bn+ copyright lawsuit against Verizon to Shamrock’s rights portfolio acquisition… it’s MBW’s Weekly Round-UpThe biggest stories from the past week – all in one place…
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Jimin, one of K-pop’s biggest superstars, has a dedicated in-app hub on TikTok for his new album ‘MUSE’K-Pop is one of the fastest-growing genres on TikTok
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Ex-Spotify, Sofar exec Jim Lucchese named President Berklee College Of MusicMusic tech veteran Jim Lucchese has exited his position as CEO of Sofar to become the president of the Berklee College of Musics. Lucchese founded the pioneering music analytics firm Echo Nest, which Spotify acquired in 2014, where he also served as an executive.
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How to get music on Spotify playlistsFor indie artists, getting music on a Spotify playlist can be crucial to success. This guide offers strategies for optimizing profiles, consistently releasing music, pitching to playlists, engaging with user-curated playlists, and promoting your music beyond Spotify.
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