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We all know the music industry is in turmoil, with the rich getting richer and small acts struggling.
GigRev is a social media platform attempting to connect fans and artists, aiming for genuine engagement over Likes and ad revenue.
We caught up with the team.
Last week, Starbucks and Spotify announced a partnership that will see the popular music streaming service integrated into Starbucks' 7,000 stores and its 10 million member strong loyalty program, My Starbucks Rewards.
What's that noise?
When so much attention is paid to the visual art of web design and the wonderful possibilities that HTML5, CSS3 and jQuery affords, often sound design is forgotten or overlooked.
Then again, there are few more annoying things in the online world than obtrusive sound effects or autoplaying music blaring out when you least expect it, especially when you’re likely to be listening to your own choice of music anyway.
Much like in filmmaking, the mark of good sound or scoring in web design is that you don’t necessarily notice it. The sound should complement or enhance the visual, but never upstage it.
What of those sites that make the sound as integral a part of the experience as the visual? What about the sites that say loudly and proudly “put on your headphones and turn it up loud”? Well they demand your listening pleasure.
Despite creating fantastic products and winning several Red Dot design awards in the process, BOSE isn’t often seen as a cool company.
Rarely are its designs mentioned in the same breath as Apple, or its headphones alongside young upstarts like beats.
Despite this slight lack of street cred, Bose remains one of the strongest brands in audio, so I thought I’d check out its content to see how it fares against the competition...
Ofcom today published The Communications Market Report 2014 in the UK.
There are lots of interesting stats within, across telecoms, audio-visual industries, post and of course the internet.
No doubt we'll be covering the report fairly heavily, but I thought I'd start by rounding up the bits that caught my eye.
How is device use changing? How are people accessing media? How much are advertisers spending and on what?
The latest update to our Internet Statistics Compendium collects all the most interesting freely digital data and trends published to the web over the past few months.
Like us, Mary Meeker strives to analyse online digital trends and publishes her own slideshows biannually (hosting them online here).
Amid a wealth of insight, Meeker’s recent stats collection highlights how online technologies are affecting traditional media. Her music consumption stats are particularly intriguing and relate to further research I’ve seen published lately.
I began writing an ‘amusing’ article last night, it was to combine my twin passions for music and search marketing. It was to be entitled ’20 band or artist names that are impossible to Google’.
I figured this would be ripe for hilarity and also an interesting look into what new bands and artists need to consider when trying to market themselves online.
After all we live in a ‘digital first’ world where bands like Chvrches specifically spell their name wrong so they can be searched more easily and Owen Pallet dropped his Final Fantasy pseudonym in order to drive more traffic to his site instead of the computer game franchise.
I was wrong.
Facebook provides an unparalleled amount of real-time, accurate user data. With Facebook, marketers can be flies on the wall, quietly and unobtrusively gaining insight into their consumers by observing the details they share about their lives.
It is the world’s largest unfiltered focus group for brands to listen to, and it’s arguably the richest CRM database for marketers to take advantage of.
Consumers provide large amounts of data through their Facebook activities, enabling marketers to access far more information about who they are than a survey or poll might reveal. And, thanks to the high-frequency of consumer activity on Facebook, all of this wonderfully rich data is consistently kept up to date.
Best of all, the accessibility of consumer data on Facebook means that marketers can utilize it without interfering in their consumers’ lives.
This weekend sees the first ever YouTube Video Music Awards streamed online. In many ways, it’s like a lot of other music awards: there’s glitz, there’s glamour, and there’s Lady Gaga, One Direction and Rihanna (though Cher’s invite is presumably still in the post…).
However, the YouTube awards are different in one major way. Any videos shared across Facebook, Twitter or Google+ since September 2012 contribute to deciding the winner, alongside user votes.
Just over a year ago, in August 2012, Nielsen revealed some research that revealed YouTube as the number one music discovery source for under 18s – a figure that can only have grown in the past 12 months. Arguably, this makes these awards the most relevant of all.
According to Juniper Research’s latest report, they forecast that over 160bn apps will be downloaded globally onto smartphones and tablets in 2017.
Although the UK is the most expensive country in the world to drive app downloads, with 58% of the country owning a smartphone and 19% owning a tablet, the UK represents a lucrative territory to crack now and increasingly so in the next four to five years.
Here we’ll take another look at InMobi’s App Insight Report, released last week, and reveal some key insight and advice on how your company can best drive app downloads on mobile and tablet.
Using any music in one’s work is often a headache if one is unsure of the ins and outs of licensing.
Epidemic Sound aims to simplify the process with its users paying one fee to access a whole bunch of music to use in their work.
We caught up with CEO, Oscar Höglund to ask him more about the service.