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Avid Interviews Jon Tessier about nomadic production

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His music crosses just about as many boundaries as he has. With his Les Paul, he writes and records using Pro Tools, melding guitar rhythms and modern electronic pop, using plugin effects to give his music a rock edge. He cites The Doors, Tom Petty and the Heartbreakers, and Depeche Mode as influences, and songs like A Minute or Two and Summer Rain evoke those bands and more.

“When I started out, my first DAW was Cubase—but as soon as I transferred my tracks on Pro Tools and heard them back, I was hooked! I made the switch instantly.” Jon Tessier

His song ideas are molded into crisp recordings with a jangling clean electric, a hard-edged crunch, synth pads and atmospheric flanged vocals. He takes a modern approach to music creation, recording whenever and wherever he gets the inspiration, often producing a song at a time. He has been keeping song ideas for years, recording and saving short clips of progressions and lyrics based on thoughts or quotes from novels that evoke a strong emotion from the time they were recorded.

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www.jontessier.com

Listen on Spotify

Spotify valued $30bn at New York Stock Exchange – that’s more than global recorded music industry revenues

Spotify was valued at $30Bn at the new york stock exchange, which is more than global recorded music revenues ($15.7bn) announced by IFPI.

Spotify started trading on the New York Stock Exchange moments ago. And, after a few hours of behind-the-scenes buying and selling, its official debut public price has been revealed – $166 per share, resulting in a market cap worth approximately $29.6bn.

The news comes after months of speculation regarding Spotify’s official valuation, with analysts recently reporting that private trades of the company put its worth anywhere between $18bn and $44bn.

Spotify’s valuation stood at just $8bn as recently as May 2015, according to reports in the financial press at the time – meaning that this figure has more than trebled in less than three years.

Experts have warned, however, that some price volatility is expected in the wake of Spotify’s unusual ‘direct listing’ approach to flotation. Click here to read the rest

IFPI source article here

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The great big Spotify scam: Did a Bulgarian playlister swindle their way to a fortune on streaming service?

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A Bulgarian playlist-maker scammed the Spotify payout system for months last year – and could well have made themselves a millionaire off Daniel Ek’s platform.

That’s the shock claim being made by multiple high-level industry sources to MBW this week.

Music Business Worldwide can today reveal details of the alleged shakedown, which reached its height at the end of last summer.

The evidence we’ve gathered strongly suggests that one party sucked a vast amount of money – as much as $1 million-plus – out of the Spotify royalty pool, and away from legitimate artists and labels.

And the best/worst part of all? They probably didn’t break any laws in the process.

How did they do it? Read on…

Quincy Jones: “Michael stole a lot of stuff. He stole a lot of songs.”

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In both music and manner, Quincy Jones has always registered — from afar, anyway — as smooth, sophisticated, and impeccably well-connected. (That’s what earning 28 Grammy awards and co-producing Michael Jackson’s biggest-selling albums will do.) But in person, the 84-year-old music-industry macher is far spikier and more complicated. “All I’ve ever done is tell the truth,” says Jones, seated on a couch in his palatial Bel Air home, and about to dish some outrageous gossip. “I’ve got nothing to be scared of, man.”

Currently in the midst of an extended victory lap ahead of his turning 85 in March — a Netflix documentary and a CBS special hosted by Oprah Winfrey are on the horizon — Jones, dressed in a loose sweater, dark slacks, and a jaunty scarf, talks like he has nothing to lose. He name-drops, he scolds, he praises, and he tells (and retells) stories about his very famous friends. Even when his words are harsh, he says them with an enveloping charm, frequently leaning over for fist bumps and to tap me on the knee. “The experiences I’ve had!” he says, shaking his head in wonder. “You almost can’t believe it.”

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Best Buy to Pull CDs, Target Threatens to Pay Labels for CDs Only When Customers Buy Them

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Even though digital is on the upswing, physical is still performing relatively well on a global basis — if not in the U.S. market, where CD sales were down 18.5 percent last year. But things are about to get worse here, if some of the noise coming out of the big-box retailers comes to fruition.

Best Buy has just told music suppliers that it will pull CDs from its stores come July 1. At one point, Best Buy was the most powerful music merchandiser in the U.S., but nowadays it’s a shadow of its former self, with a reduced and shoddy offering of CDs. Sources suggest that the company’s CD business is nowadays only generating about $40 million annually. While it says it’s planning to pull out CDs, Best Buy will continue to carry vinyl for the next two years, keeping a commitment it made to vendors. The vinyl will now be merchandised with the turntables, sources suggest.

Meanwhile, sources say that Target has demanded to music suppliers that it wants to be sold on what amounts to a consignment basis. Currently, Target takes the inventory risk by agreeing to pay for any goods it is shipped within 60 days, and must pay to ship back unsold CDs for credit. With consignment, the inventory risk shifts back to the labels.

According to those sources, Target gave the ultimatum to both music and video suppliers in the fourth quarter of last year that it wants to switch to scanned-based trading, with a target date of Feb. 1. But while it is proceeding to push DVD vendors to switch to scan-based trading terms (i.e. the chain would pay for DVDs after they are sold or scanned while being rung up at the register), it has moved the deadline back to music suppliers to either April 1 or May 1. So far, music manufacturers are not sure what they are going to do, but sources within the various camps say that at least one major is leaning no, while the other two majors are undecided.

If the majors don’t play ball and give in to the new sale terms, it could considerably hasten the phase down of the CD format.

Target has greatly reduced its music presence over the years. Once upon a time carried as many as 800 music titles, and nowadays seems to carry less than 100 titles in most stores. Yet, it can still be a powerful force on big titles. For example, the chain moved over 500,000 CDs of Taylor Swift‘s Reputation album.

How Hans Zimmer and Radiohead transformed “Bloom” for Blue Planet II

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If you listen closely enough to Radiohead and Hans Zimmer’s rework of “Bloom” for Blue Planet II, you can hear a really fascinating orchestral trick at work. They call it the “tidal orchestra” — it’s a musical effect created by instructing each player to play their notes only if the person next to them isn’t playing. The result is a randomly swelling and fading musical bed for the entire series that captures the feeling of ocean waves. It’s a captivating way to score a soundtrack for the ocean — but it also fits in with a long history of capturing randomness in music composition.

Gen Z Music Consumption Behavior

How Are Millennial Consumption Habits Going to Affect Your Music?

Written by Allison Johnelle Boron on 9th October 2017

Millennials: Whether you love their tech-savvy, often flighty, always unique habits or shake your head at evidence that the many stereotypes about this divisive demographic are true, it’s unavoidable that they’re usually the key to forecasting trends and serve as the pulse of marketing’s new frontier.

In recent years, the habits of these young tastemakers have become crucial to everyone from retail brands to app developers to, well, musicians and artists, especially because more content is being consumed than ever before.

Recently, Nielsen surveyed a group of these 18-to-34-year-olds to understand their media-consumption habits, enlisting the company’s own Millennial contingent to collect empirical data from their peers and develop a system for analyzing their activities and methodology. Predictably, their findings revealed a slew of insights into this powerful generation.

For example, it might not be surprising that streaming is popular with Millennials, but what’s interesting is that over half use multiple music apps monthly. The real head-turner, however, is the fact that, while digital radio continues to gain listeners among Millennials, 93% still tune into terrestrial radio each week. Those numbers underscore the importance of AM/FM broadcasting even as stations branch out into digital platforms.

Other major areas covered in the report include podcasts (Millennials love them), the demo’s penchant for sharing media like photos and videos over social platforms and texting, and the implications of their non-committal nature. What does it mean when consumption is high but loyalty is low? Will Millennials simply move onto the next best thing if what’s readily available doesn’t suit their needs?

The report takes an in-depth look at those questions and more and hypothesizes what exactly it means for the music industry as Millennials move into the driver’s seat.

Millennials are consuming more content across more platforms — but presume their loyalty at your peril. That’s one of the key findings of Nielsen’s second Millennials On Millennials report. The analysis considers millennials and advertising, social media, communication, entertainment, spending and technology – and there is plenty for the music industry to chew over as well as for the radio business to breathe a sigh of relief about.

Millennials (i.e., those aged 18-34) are now the second-largest generation in the US, but they are not necessarily abandoning “old” media. They might be glued to their smartphones (1,179 minutes each in Q4 2016 on their devices compared to 659 minutes for those aged 35-49), but their consumption of broadcast radio is pretty much holding steady while overall listening to digital radio has grown.

“Millennials are spending about the same amount of time listening to traditional radio as they were a year ago – even with a wealth of new media fighting for engagement time,” says the report. They listen to 10 hours and 14 minutes a week, a figure that is not significantly lower than the 11 hours and 17 minutes that those aged 25-34 spend listening to radio.

Specifically around music, 57% of millennials use two or more apps to stream music while only 39% of those aged 35+ are as app promiscuous. They also over index in terms of podcast listening, with 24% listening to podcasts at least once a week and a further 13% listening every day (it’s 12% weekly and 5% daily for those over the age of 35).

Their loyalty is proving increasingly harder to win, however, which is a lesson that all media and content producers need to take on board. “Millennials are an unfocused audience and they are less likely to stay loyal to specific media the way other generations are,” say the report’s authors.

They are very much not sit-back listeners when it comes to music. “Millennials are active listeners of music streaming services and are 21% more likely to frequently choose songs than to let the music play without making changes,” claims the report. “They also access digital music more regularly than consumers 35 and older.”

They may be zipping across multiple consumption platforms, but the net effect is they are powering through more content. “The reality of today’s media scenario is that the addition of new offerings has actually inspired increased consumption,” runs the report’s conclusion. So, in brief, they are consuming more, but just because they are listening now doesn’t mean they’ll be listening tomorrow.

Historically, music inspires devotion on all sides. There are audiophiles who only buy 180-gram vinyl; those who exclusively attend shows at intimate, non-corporate venues; and folks who pledge unwavering support for their favorite artists… no matter what.

Millennials are changing that mindset by challenging the notion of loyalty above all. Until recently, Spotify lacked Taylor Swift’s catalog, so they found other means of consuming her music. They have no innate allegiance to a particular platform.

As creators, it’s important to keep this finding, in particular, in mind from both an artistic and a business standpoint. Realizing that the most voracious and attractive generation has no figurative country requires a bit of strategy to ensure they’re drawn to and invested in your music. It also underscores the importance of clever positioning and an ear to the ground for the next big thing.

The shifting tides of Millennial media consumption almost certainly guarantee that how you’ll reach your fans and unleash your music is an ever-evolving process.

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