Last Wednesday’s FlashFWD Awards proved once again why music tech culture – its creations and its community – is on the rise.
Since its inception in 2010, FlashFWD has evolved each year with the steady growth of music tech – a movement that has always forced change within the music industry and continues to shape its future. Just walking downstairs you could feel the energy and excitement from attendees before the ceremony as they explored our interactive hall featuring a 3D printing doodle bar, an exhibition by Foldable.me and music videos programmed by emerging radio service ZUUS Media.
The ceremony gathered the best and brightest in this movement to celebrate six incredible honorees and all of the FlashFWD nominees, who have each proven to challenge and evolve the ways we cultivate and consume music.
The night opened with a performance from emerging artist, Robert Delong, a self proclaimed “tech guy” whose performance of hit single “Global Concepts” had him hopping between a drum set and a Wiimote controller.
The GRAMMYS social guru, Lindsay Gabler, presented Best in Discovery to the Songza team who said, “We’re really honored to be honored for being a great discovery app. What we aim to do is help you discover what’s perfect for you right now.”
FlashFWD partner Trident presented Best in Mobile and Tablet to Instagram. With over 100 million monthly users, 40 million photos uploaded per day and 8,500 likes per second, Instagram is a tool that artists of all levels have embraced to better connect with their fans.
Comedy duo and FlashFWD hosts, ItsTheReal, then took to the stage with the help of violinist Charles Yang for a memoriam that had us all laughing as we remembered those tech companies we “lost” this year – including Spinner, the OLD Myspace, etc.
Best in Live went to V Squared Labs, the experiential visual art production studio behind the legendary Amon Tobin ISAM tour, the Skrillex Mothership tour, and Infected Mushroom. Eventbrite and Robert Delong welcomed CEO and Creative Director Vello Virkhaus to the stage, “I’ve been doing performance visuals since 1993 so it’s been great to grow with the electronic dance music community and work with amazing artists.”
GIG-IT, a new 3D concert gaming experience for Facebook, then took to the stage to introduce our brand new category Best in Gaming and our 2013 honoree, SoundPlay by Pitchfork & Intel. Chris Kaskie, President of Pitchfork Media was unable to attend but accepted via video, “When we set out to make SoundPlay we thought it would be not just appropriate, but exciting, to pair up an independent gaming community with the independent music community that we’ve covered for such a long time.”
An incredible performance by NYC’s own emcee Joey Bada$$ led into a FlashBKWD from the 2012 Best in Artist Support honoree, BandPage, who passed the torch to Nate Auerbach of Tumblr – “As a platform that is most well known for being imaged-based, it’s great to be recognized in the music space for what we’ve been doing with artists.”
We’d then come to the pinnacle of the evening, the presentation of the SoundWAV Award to our 2013 honoree Questlove. Last year, Steve Stoute (CEO at Translation) presented this award to Scooter Braun… this year, we were honored to have with us legendary producer Swizz Beatz who in addition to working with the likes of Jay-Z, DMX, Beyonce, Kanye West, and Bono, is also a recent executive board member with electronics company Monster, and has lent his creative contributions to the likes of global brands such as Reebok and Lotus Cars.
Swizz spoke to us about the importance of investing in and nurturing the growth of new technologies that will help push the music industry forward. He then welcome Questlove to stage, handing over the crystal award to the drummer/producer/educator who looked down at it saying “Who knew that talking about Peanut Butter Cap’n Cruch for five hours on Twitter would help me get here…” We also caught up with him backstage where he told Fuse, “It’s nice to be recognized… now that it’s manifested in my hand right now, I have to say that this is a nice honor and I appreciate it.”
SoundCtrl Co-Founder Jesse Kirshbaum closed out the evening remembering the past and thinking towards the future…
“We started SoundCtrl 5 years ago when there was no music tech scene in NYC. Now music companies like Spotify can launch in the US with multi billion dollar valuations and DIY artist like Macklemore have back to back singles on the top of the pop charts…
For the past 10 years the music industry has been at the forefront of a digital revolution and now we are starting to see that next evolution of the business.”
Then, brand new Broadway show iLuminate hit the stage with a performance that brought everyone in the house to their feet. Such a spectacular example of the convergence of music and technology was truly the perfect way to end the evening.
We’d like to thank all our partners who include Internet Week NY, Trident, Pepsi Digital Labs, ZUUS Media, GIG-IT, ooVoo, Eventbrite, Citi Private Pass, Stache Media, and Newcastle. Your continuing support and enthusiasm is what is fueling this movement.
For more coverage on SoundCtrl’s FlashFWD, check out FUSE, VIBE, Billboard.biz and Billboard’s Backbeat
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Wednesday night found the SoundCtrl team at the Gramercy Theatre celebrating our 4th Annual FlashFWD Awards at Internet Week NY.
Check out what happened behind the scenes with Fuse TV, including how performers like Robert Delong and iLuminate get their message and music out there and what honorees such as Tumblr, Songza and Questlove think about the music tech movement and the FlashFWD awards.
Check it out below and stay tuned for the full SoundCtrl recap coming next week.
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Join us on Wednesday, May 22nd at the Internet Week NY HQ at the Metropolitan Pavilion for the second installment of Music Tech Day – a day of keynotes, panels & classes designed for lively debate and inspiring experiences about the advancement of digital music culture.
Last year we brought you a full day of dynamic speakers ending in an interview with SoundCtrl’s own Jesse Kirshbaum and the legendary industry critic Bob Lefsetz.
To register for a FREE pass to MUSIC TECH DAY visit InternetWeekNY.com and use discount code HQ_MUSICTECHDAY
This year kicks off at 12:00 PM at 125 West 18th Street, New York, NY 10011
12:00PM – 12:45PM: Big Data vs Big Engagement
Success does not just mean driving big numbers, but ensuring big engagement in real time. In 2013, we have seen the rise of real time marketing and its impact on engagement. It’s more than numbers and passive consumption, but detecting if your content is connecting with your audience.
Moderator: Beverly Jackson (Senior Director Marketing and Social, The GRAMMYS)
Panelists:
- Alex White (Co-Founder and CEO, Next Big Sound)
- Brandon Martinez (Co-Founder & CEO, IND music)
- Matt Corey (CEO, Mass Relevance)
- Allison Moore (Associate Director of Advertising, Social Media Marketing, & Consumer Research – ‘stache media, a division of RED and Sony Music Entertainment)
12:50PM – 1:10PM: ooVoo with Warner Music on SXSW Warner Live tech/social
Warner Music and ooVoo teamed up at sxsw to create VIP concert experiences for half a million fans who could not travel to Austin. For the first time ever, groups of fans could see and hear each other while watching live performances by Macklemore, Paramore, Flaming Lips, Icona Pop and others via ooVoo video chat. Find out how it was done and how they plan to change “music television” forever!
Speakers:
- Larry Lieberman, CMO, ooVoo
- Lori Feldman, SVP Brand Partnerships & Music Licensing Warner Bros
1:00PM – 1:45PM: Best Practices: Going Digital DIY
Ariel Hyatt leads this discussion with Oberhofer on how to build and cultivate a loyal fanbase, grow personal brands, and sell more music/tickets/merch as an indie or just starting artist. The conversation also includes representatives from some of the leading artist support platforms like PledgeMusic, Indaba, and others to engage artists in a discussion of how they’ve found success using these digital tools and what might still be missing in the space.
Moderator: Ariel Hyatt (President & Founder, Ariel Publicity)
Participants:
- Brad Oberhofer (Artist & Producer, Glassnote Records)
- Jayce Varden (Co-founder & COO, PledgeMusic)
- Nate Lew (VP Partnerships, Indaba)
2:05PM – 2:50PM: Streaming It: The Tipping Point
Over the past 10 years, the average person’s record collection has shifted from his bedroom wall, to his computer hard drive, to now, possibly, just a feed on his social channels. The industry has witnessed a great shift from traditional purchase models to a growing number of digital streaming platforms that compete based on varying factors such as access, personalization, and social capabilities. This session seeks to understand why access suddenly became preferable to ownership and predict how this model will evolve in an ever-changing landscape of competition and demand. How will we be discovering and sharing music and video in the next few years?
Moderator: Andrew Hampp (Senior Branding Correspondent, Billboard)
Panelists:
- Matt Ostrower (Senior Director of Artist Partnerships & Programming, Pandora)
- Steve Goldstein (CEO and Founder, ZUUS)
- Daniel Hayek (Director Education + Community, Vimeo)
2:55PM – 3:15PM: Game Changer: Revenues in the Virtual World
GIG-IT is the first and only virtual 3-D concert game for Facebook that brings together social gaming, music, fashion and fun. Players will have a unique platform to interact with their favorite musicians, engage with brands in new ways, and showcase their inner artist by sharing their concert creation with the social world. Founder and CEO John Acunto takes the stage to discuss this brand new platform in music and gaming and talk about his experience in investing and developing new music technology over the past 20 years.
Speakers: John Acunto (Founder & CEO, 212 Decibels & GIG-IT)
]]>By Carolyn Heneghan
Photo filter phenom Instagram has revolutionized the mobile imaging world, evolving photography to fit the online social landscape. From dark rooms to Polaroids, from 35mm to digital cameras, photography has been on a wild ride for more than a century, and now mobile phones have disrupted the former notion of cutting-edge image capture yet again—with the helping hand of Instagram.
As the winner of our FlashFWD Award for Best in Mobile & Tablet, we are proud to recognize their efforts and successes this past a year as revolutionaries in mobile and tablet photography, communication, and social sharing.
Instagram may not be the only social image-sharing service out there, but it is the most well-known with over 100 million monthly active users. The company has turned so many heads in less than three years of operation that Facebook bought out the blazing photo service for one billion dollars just over a year ago.
Here are a few statistics to illustrate why Facebook might have made such an offer:
It’s clear that the potential is there and that users can reach each other in a unique and compelling way. While this may be perfectly suited for sharing photos with family and friends, musicians too have found ways to use the service to grow and maintain their online followings.
When the Music Fuels the Photos
Pop stars, indie darlings, famed producers and even the upstarts are finding innovative methods for using mobile montages to share various aspects of their more intimate lives. This might include fairly typical shots like from behind the DJ booth overlooking a crowd or backstage just after the performance, smiling and sweating from the rush of a killer show.
Many musicians have used Instagram as a way to showcase their practice spaces and routines. Others have used it to demonstrate and promote their recording efforts. Any way that they can bring their fans closer to their music and the musical process, they’ve done it.
Or When Musicians Delve Deeper
Some musicians have taken these photo opportunities one step further and one step deeper into their lives off stage. One way is to take pictures of the tour bus, plane rides and other assorted antics that happen between concert and recording dates, including using geolocation photo mapping for additional context.
Ultimately, you can get an intriguing glimpse at the other side of your favorite musicians’ daily lives. This might include their families, what they ate for breakfast, silly drawings or altered photos, a collection of random items currently in their possession or even a sign they found amusing. You might see photos of non-venue destinations in each city visited, and you can take a peek into what these musicians are interested in when not on stage. Some musicians have shared mobile photos of themselves with other artists and luminaries in the music industry; these can sometimes give fans an idea of whom else in the scene or industry their favorites know personally, are friends with, or whose work they respect.
And It’s All To Increase Fan Engagement
The other potential for musicians and their fans to interact is when fans post their own photos of concerts and appearances on their own Instagram profiles and tag the artist to let them know. This is a prime opportunity for musicians to engage—and even thrill—their fans by liking and commenting on these photos.
What all this boils down to is a chance for musicians to let their fans get to know them on a deeper level. This promotes not only their music but their image and even what they stand for as an individual. The thing about Instagram is that it’s so much more intimate than many other social media profiles these musicians might have. Many artists have their social media channels handled primarily by their marketing team. But with Instagram, there’s a much better chance that you are seeing what is actually happening to the musicians you follow, as these photos will likely come directly from the mobile device they have in their possession—right then and there. This makes fans feel privileged to share this information and have this insight into musicians’ lives, and it makes them more likely to share social media posts and purchase albums and concert tickets. Win-win.
Instagram makes all of this possible with one user-friendly application. What started as an idea for making uploaded mobile photos look cooler and more professional has turned into an awe-inspiring success that professionals across all industries are recognizing, including musicians and the FlashFWD Awards. Only time will tell how Instagram will fluctuate with the changing times—particularly under Facebook’s wing—as photography, communication and social media continue to evolve and adapt. We are especially looking forward to seeing how our FlashFWD Award winner will progress in years to come.
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SoundCtrl is proud to present the 4th Annual FlashFWD Awards as a part of Internet Week NY
SoundCtrl’s FlashFWD Awards will take place on May 22 at the Gramercy Theatre in New York City. The event will include special performances by Glassnote-signed EDM artist Robert DeLong, up-and-coming rapper Joey Bada$$, dance crew iLuminate and more. Hosted by It’sTheReal.
A first of its kind ceremony honoring excellence and innovation in music technology, FlashFWD brings together the thought leaders, creators and luminaries of the tech revolution to celebrate the ways we discover, perform and share music. Now in its 4th year, the FlashFWD Awards are a chance to enjoy a night of great performances, recognize our 2013 honorees, and celebrate the future of music.
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2013 SoundWAV Influencer Award: Questlove
Recognizing an individual who has significantly impacted digital music culture through the early adoption or creation of new technology and is seen as a visionary and voice in the music tech industry. Past honorees include: Scooter Braun (2012), Troy Carter (2011)
Best in Discovery: Songza
Recognizing a product or service that has most significantly impacted and improved the way fans discover and share recorded music. Past honorees include: Spotify (2012), The Echo Nest (2011), Hype Machine (2010)
Best in Live: V Squared Labs
Recognizing a product, service or organization that has most significantly improved the live concert experience from either a fan or artist perspective. Past honorees include: Square (2012), The Creator’s Project (2011)
Best in Mobile & Tablet: Instagram
Recognizing a product or service that is breaking new ground in mobile technology and expanding upon traditional fan engagement. Past honorees include: Snibbe Interactive for Biophilia (2012), SoundTracking (2011)
Best in Artist Support: Tumblr
Recognizing a product or service that focuses on giving artists more options in creating and promoting their music independently. Past honorees include: BandPage (2012), SoundCloud (2011), Indaba Music (2010)
Best in Gaming: Soundplay by Pitchfork & Intel
A brand new category recognizing a game, creator or organization that demonstrates innovation in music integration with a gaming platform, be it through soundtrack, virtual marketplace, or unique partnership.
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By Carolyn Heneghan and Keith Nelson Jr.
Do you ever feel like your tumbling along with the constant evolution of online and social media? The latest blog platform darling, Tumblr, has paved the way for anyone who wants to share thoughts or media with the blogging world with more than 107.1 million blogs and 50.3 billion tumblog posts.
But what it has also done—and what was most attractive to our FlashFWD Awards considerations—was the fact that they have also provided a unique way for musicians to create interactive content. This content helps them engage with their fans as well as independently promote their music on a regular and more personal basis.
As the winner of the FlashFWD Award for Best in Artist Support, Tumblr is being recognized as a revolutionary platform for musicians looking for innovative ways to reach their fans and explore and strengthen the relationships they have formed with them over time. The platform is also a vessel for sharing and expressing more personal thoughts, photos, and other media to give fans and readers an insider’s look into the mind and daily lives of these artists.
How Have Musicians Started Tumbling?
Musicians started their Tumblr pages like anyone else would—by blogging. This has included everything from band news and tour diaries to music promotion, personal or random thoughts and funny lines. As a vehicle for musician-fan communication, Tumblr brought the two one step closer together, giving fans something to read to deepen their knowledge and appreciation of the artist(s) they already devote their listening time to.
As users began to discover new functions and possibilities for Tumblr, so too did musicians begin to adapt. Photo-sharing became popular, and musicians jumped on the opportunity to share more behind-the-scenes photos with their fans—anything from antics on the tour bus and setting up for gigs to family photos and what they had for breakfast. They’ve also shared drawings and images they find interesting or funny. This past year also saw GIFs rise in popularity, and musicians began sharing them via the platform as interesting and funny tidbits demonstrating action shots during concerts.
As Tumblr Progressed, So Too Did the Music Industry
One of the next biggest platform changes for Tumblr is the addition of the music widget, which allowed musicians to embed music playlists into their posts and profile sidebars. This includes a collaboration with SoundCloud, which many musicians already use to promote their music. These widgets have given musicians the chance to share their latest tunes with their fans. They also have the ability to share their own favorite music or music that they’re listening to to give their fans a deeper look into their own musical tastes and preferences.
Tumblr’s tag directory makes it possible to include Twitter-like hashtags to make their content more readily available and searchable for Tumblr users. This has allowed musicians to tag their music by genre, subject matter, title and more, and it has helped them become more visible to both current and potential fans.
Musicians Assimilate into the Twitter Culture and Community
The aspect of Tumblr that is perhaps most enticing for musicians is the reblog function, with which users can repost their favorite content on their own tumblog to share with their own set of followers. Reblogging allows users to feel like a more devoted fan by sharing their favorite musicians’ content with others and by spreading the word of how great they think the music is. This makes it easier for content to go viral across the platform.
Another way that musicians have assimilated into the Tumblr community is through likes and replies. Like most other social media sites, likes and comments are the key to fan interaction in that they let your fans share their interest and speak their mind.
Keeping all of the many uses of Tumblr in mind, we feel that the platform rightly deserves the Best in Artist Support FlashFWD Award. They have helped to transform the online social space for musicians in a way that not many other services have, and they allow them to interact with their fans on a more personal level than some of the bigger social media sites like Facebook or Twitter. As Tumblr continues to grow and progress, we are excited to see where they—and musicians—will end up next.
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Tumblr’s “Music Evangelist”, Nate Auerbach speaks exclusively with Soundctrl on Tumblr’s increased involvement in music, the changing entertainment industry, and addresses Kanye West’s claim that the Chicago emcee is the reason Tumblr exists.
SoundCtrl: There are over 100 million active Tumblr blogs, how much of that traffic would you say is music related?
Nate Auerbach: We don’t have hard statistics on that. Music is so engrained in the culture of the Tumblr community, who they follow, what they post about and what they share. It also manifests through so many different forms—audio posts, GIFs, photos, videos, quotes, text posts, etc.
SC: Record labels such as Def Jam have their own tumblr, Frank Ocean debuted his album stream (and his controversial coming out letter) on his Tumblr site. Tumblr has become ubiquitous in music promotion. How was music factored into the original concept of Tumblr?
NA: Tumblr is a platform and community that empowers creators to express themselves in ways that best reflect their art. Rather than conforming their content or conversations to fit into a grid or a network, they can mold the platform and how they use it. The concept resonates with all creative minds. Musicians are finding that, after over a decade in the digital age, their album artwork can be important again.
Frank Ocean wanted to engage an emotion with his album premiere. He wanted people to be able to sift through the artwork, and stream his album as one fluid track. Def Jam is not just a record label; it’s a lifestyle brand that has an identity and a voice. Instead of sending out a press release or posting a tweet that says, “look at this video from our artist,” and clicking to it, they can just post that video. It’s apparent how much music influences traffic, not just on Tumblr, but everywhere. Look at YouTube plays, the most popular pages on Facebook and the biggest personalities on Twitter. That transcends to Tumblr. Many of our biggest blogs and most tracked tags are music-related.
SC: Tumblr integrated with Spotify in 2012. What else has Tumblr done to help foster easier music discovery and what does it plan to do in the future?
NA: Earlier this year, we launched a community-curated tag page. I’ve appointed several dozen tag editors to promote the best music-related posts on Tumblr. This is where users can discover new music, blogs and bands. We recently improved our SoundCloud integration to accommodate enhanced search and SoundCloud sets. Bandcamp players can now share directly into our player as well. That’s something the blogging community is particularly excited about.
Tumblr is constantly working to improve the product and site experience, enabling users to find more of what they want easier and faster.
SC: A 3rd party app, Babblr has been released which enables real-time instant messaging in the Tumblr dashboard. How would a service such as this help Tumblr’s growing presence in the music industry.
NA: We are super proud of our developer community and we make our API open and accessible for people to build on top of the Tumblr platform. The more people are getting creative with our API, the more people in music will take notice of what they can do with a platform so rich in content and passion.
SC: It was reported that Kanye West recently recited the lyrics “I’m the cause for Tumblr” during a performance at a MetGala afterparty. How did Kanye influence Tumblr?
NA: How many rap lyrics do you take literally? Lil Wayne says he’s a Martian. Tumblr is influenced by our users and by the creators on our platform. It would probably be more accurate to say that Kanye’s fans have influenced Tumblr. One of my favorite tumblogs is All Yeezy Everything.
SC: Has Tumblr partnered with artists in any official capacity?
NA: Like the Frank Ocean example, we’ve promoted the streams of albums or tracks with artists, as well as the rollout of unique artwork, GIFs and videos. We presented a free show with Tyler, the Creator, on March 11 in Boulder, CO. It was his first solo show ever, and it attracted so many kids that he did a second show that night because he’s that awesome of a dude to his fans. You can view some links here, here and here. We also helped Alicia Keys to find artists on Tumblr to help her cover her recent tour in unique ways. This was her vision. Some examples are here, here and here. Check out her blog. It’s super awesome. This week we will be announcing another event. Stay tuned for that.
SC: How can Tumblr help an up and coming independent artist?
NA: Tumblr allows up-and-comers to plug into pre-existing communities and carve out their own niches. They are given an abundance of tools with which to engage potential fans and generate unique conversations that emanate from their art and their inspirations. A great way to build your fan base is to find the folks who love you already, and see how you can multiply them. Our social tools are all about positive interactions; we don’t have commenting that leads to negativity. Artists can search their names to see what people are posting about them, click on their blogs to see what else they like, what they reblog, etc. They can use it to learn a lot more about who the fans are that will support them. Artists can also build full-on websites off of the Tumblr platform and optimize their web-facing presence, for almost no money, while also reaching kids where they hang out—on the Tumblr dashboard. Tumblr can serve as a complete hub for bands so they can control their navigation. Our integrations allow them to publish content easily and in a manner that is easily transportable and sharable.
The answer to this question can be an essay, but I’ll just stop there.
]]>By Jason Epstein
We all know what Billboard charts are, but did you know that they’re an ever-evolving entity, always adapting to the persistently shifting landscape of music consumption? We spoke to Billboard Editorial Director, Bill Werde about his hand in the Billboard chart’s recent recalibration, ways to define “success” in the music world and the future he envisions for Billboard charts.
SoundCtrl- Harlem Shake became #1 on the Billboard charts thanks to the recalibration that took place to take YouTube views into account. Can you tell me how this came about and what goes into recalibrating something of that scope?
Bill Werde- The Billboard charts are always evolving – never more rapidly though than in recent years – as this dynamic, digital wave of platforms and distribution methods for music has rolled in. We’d wanted to add YouTube data to our charts for quite some time, but we couldn’t do it until both YouTube and Billboard felt the data was ready for prime time in terms of integrity and dependability. The second we crossed that threshold, we added the data. It turned out to be a perfect storm, because the week we did, “Harlem Shake” broke. That song did more streams than any previous song, [as measured] by magnitudes. It made “Gangnam Style” look trifling by comparison, and we all know what a massive global smash that was.
As far as the recalibration itself, it’s weeks of trying different formulas once we can begin to process a new data stream behind the scenes, to make sure the weighting ultimately delivers a chart that is reflective of what Silvio Pietroluongo, our charts director and I feel is happening in the market place.
SC- In the long run, what’s more beneficial for an artist in both the short and long term: to rank highly on the Billboard Hot 100, or the Billboard 200?
BW- This presumes there’s only one way for an artist to create a meaningful trajectory in 2013. What’s great about music these days is that there are dozens of ways for an artist to create a fan base and momentum. It used to be the only way to be a star was to get your song on radio and then sell lots of albums. These days, you have artists like Pitbull who may not sell a ton of albums, but instead sell so many singles they can make just as much money as big album artists. And of course, Pitbull cleans up on the road – fans want to hear all those hits. Or perhaps more to the point, you have Psy, who clearly had a massive, undeniable, global smash hit with Gangnam Style before radio ever really started to play it. I think you’ll see a lot more of that in the coming years.
So I don’t think it’s really a question of what chart is best for an artist – it really depends on what sort of artist you are, and what your goals are. I think what never changes though, is that the artists who stick around will be the ones that find meaningful and honest ways to connect with their fans. You have to stand for something, mean something to people. You have to be a real artist to transcend the Billboard charts entirely – to be bigger than any one song or album. That’s when you really win.
SC - What can you see in the future of Billboard.com and music charts ingeneral? Is there another recalibration on the horizon to take streaming music or another form of audio consumption into account?
BW- There will always, always, always be another recalibration on the horizon. We’ve been charting music for more than six decades. We were the chart of record when vinyl 45s were what mattered. We were the chart of record when 8 tracks were hot. You get where I’m heading with this – CDs, digital downloads, streams, it doesn’t really matter to us; Billboard charts what’s happening in the marketplace for music. If in 10 years people listen to music by having it beamed into their heads, I’m sure we’ll have the Billboard Cranium 100 chart.
In a more specific way, we’re doing a lot of work behind the scenes right now on acquiring and processing data at faster speeds so we can create a whole suite of products. I can’t say too much about it yet, but I’ll say this: once upon a time, Billboard charts were basically just ascii text: non-interactive lists of songs and artists. Today you can export our charts from Billboard.com and use them as playlists in Spotify and Rdio. We use our charts as jumping off points for people to discover news, videos and more about those artists and songs. My expectation is that in the very near future, the Billboard charts will be living, breathing, time-and-space shifting representations of what people are listening to in particular places, on particular platforms and so on.
]]>By Jesse Kirshbaum - CEO and Co-Founder of SoundCtrl
For the third time, I had the privilege of attending and covering the TechCrunch Disrupt Conference. (See 2011 and 2012′s recaps here and here).
This year’s conference was at Hamerstein Ballroom, and was very polished and well done. Although the speakers seemed more isolated and harder to connect with than in the past, the talks were great and got some excellent take aways from what I did attend.
On Tuesday, our own Dana Sedgwick made it down to see Troy Carter talk about evolving technologies and investment philosophies.
I missed Downloaded, the Napster documentary, but it sounded cool. It’s definitely on my hit list. I was also too hungover after the GIG-IT launch party to make it to Rap Genius. But I love those guys (Mahbod Moghadam, Tom Lehman, Ilan Zechory) and it sounds like they killed it.
Jonah Peretti, CEO of Buzzfeed gave an enlightening talk about social content. The slide shown above summarizes his points.
Also got a chance to see Dennis Crowley, CEO of FourSquare, talk right after Jonah. The interviewer was tough on him, but he talked about his vision, haters, his Boston Marathon experience, and FourSquare’s revenue. We have no reason to suspect anything but big things from him and his team.
The highlight of the conference for me was seeing Michael Arrington chop it up with Guy Oseary and Ashton Kutcher. Ashton was his normal charming self. Well spoken in a casual way, he talked about how the two met and started A-GRade.
As it pertains to music, Guy is a big believer in the next frontier being “Streaming and Curation.” He’s betting that Spotify will ultimately be successful, and that labels will be able to come together and support each other.
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SoundCtrl is proud to announce our nominees for the 4th Annual FlashFWD Awards – honoring excellence and innovation in music technology.
Every year, we’re excited by the steady and explosive growth of technology that is changing the ways we create, perform, discover and listen to music. Since the inception of FlashFWD in 2010, we’ve seen the industry shift, adjust and evolve many times over.
This year, there are simply too many companies and individuals we wanted to recognize. We feel compelled open up the conversation to you – the artist, the fan, the influencer – who do you think deserves a 2013 FlashFWD Award?
Best in Discovery | Best in Live | Best in Mobile & Tablet
Best in Artist Support | Best in Gaming | SoundWAV Influencer Award
See if your favorites make the cut on Wednesday, May 22nd at the Gramercy Theatre where we will welcome nominees, artists, entrepreneurs, and industry elite to celebrate our 2013 honorees, with special performances by guests TBA.
The voting period ends in two weeks and honorees will be announced in May. Congratulations to all our nominees and looking forward to another amazing FlashFWD season!
To check out what went down in 2012, visit our recap HERE and check out what past winners think about FlashFWD HERE.
If you’d like to receive a press pass and/or interview the SoundCtrl board about the event, please email [email protected].
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Best in Discovery: Past honorees include Spotify (2012), The Echo Nest (2011), Hype Machine (2010)
Recognizing a product or service that has most significantly impacted and improved the way fans discover and share recorded music
1) Songza 2) NPR Music 3) YouTube 4) Mixify 5) Rap Genius
Best in Live: Past honorees include Square (2012), The Creator’s Project (2011)
Recognizing a product, service or organization that has most significantly improved the live concert experience from either a fan or artist perspective
1) Boiler Room 2) V Squared Labs 3) Superfly Presents 4) ID&T
Best in Mobile & Tablet: Past honorees include Snibbe Interactive for Biophilia (2012), SoundTracking (2011)
Recognizing a product or service that is breaking new ground in mobile technology and expanding upon traditional fan engagement
1) Pheed 2) Groovebug 3) Biobeats 4) Instagram
Best in Artist Support: Past honorees include BandPage (2012), SoundCloud (2011), Indaba Music (2010)
Recognizing a product or service that focuses on giving artists more options in creating and promoting their music independently
1) Tumblr 2) Jamplify 3) PledgeMusic 4) (New) Myspace
Best in Gaming: A Brand New Category
Recognizing a game, creator or organization that demonstrates innovation in music integration with a gaming platform, be it through soundtrack, virtual marketplace, or unique partnership.
1) Video Star App 2) SoundPlay by Pitchfork 3) Kinect for XBOX 360 4) Virgin Gaming
SoundWAV Influencer Award: Past honorees include Scooter Braun (2012), Troy Carter (2011)
Recognizing an individual who has significantly impacted digital music culture through the early adoption or creation of new technology and is seen as a visionary and voice in the music tech industry
1) Bill Werde 2) Jimmy Iovine 3) Amanda Palmer 4) Guy Oseary 5) Questlove
]]>By Dana Sedgwick, @danasedgwick
As part of our continuing coverage of Disrupt NY, I headed over to the HQ yesterday to catch TechCrunch’s Josh Constine in conversation with Troy Carter, CEO & founder of Atom Factory and co-founder of Backplane.
In general, I was disappointed by TechCrunch’s line of questioning that trended towards a mistrust of the convergence of technology and music – that somehow these two industries were bound to always be at odds.
The opening question was very telling, “Has tech screwed the music industry?”
But Carter’s response was genuinely hopeful rather than apocalyptic, citing that technology has always driven music sales (the creation of the CD anyone?), and that although recent innovation has forced change within the industry, technology will eventually help it scale.
Later in the conversation, he also recognized the music industry’s molasses-like adaption to the changing landscape, calling in particular for a new generation of music publishers who can see the value in lowering the barriers for young tech companies to obtain and license music.
When asked where the holes are in the music tech space, Carter mentioned the continuing battle for in-car entertainment, no doubt a space we’ll continue to watch evolve as terrestrial radio struggles and satellite radio competes with internet music subscription services.
He also pointed out the need for better solutions in tour routing and coordination.
“It’s a waste the way we route tours now… It’s not based off of real data, for the most part its just guesswork. We need a better system and cleaner data to really understand how to maximize revenue.”
But for me, the biggest takeaways were found in how Carter discussed his personal investments (Spotify, DropBox, Uber), and the areas he’s looking to invest in next which include health and education.
Carter described his investment philosophy as mirroring the methods he uses to find excellent artists.
“We look for dynamic founders… And we treat the founders the same way we treat artists. Most of the guys who come to us have come through trusted filters… whether it’s Menlo, Google Ventures, Andreessen Horowitz, we invest alongside of some smart guys. And in the music industry I stay close to people with really good ears. It’s the same filter, same process.”
Also interesting was Carters’s opinion on celebrity investment, which he seemed hesitant to give despite Constine’s insistance that earlier he’d called it “just a fad.”
Carter has worked closely with Ashton Kutcher and Will.i.am, describing them both as some of “the smartest guys I’ve ever met with a clear understanding of product.”
But in general, he preached not to “use celebrity for the sake of celebrity.”
“Celebrities can’t add rocket fuel to a bad product… but when you have a great product and you marry that to a celebrity fan base where the fans get value and the celebrity gets value, and they’re incentivised by investment or getting value share, then that’s the perfect marriage.”
Troy carter is the CEO and Founder of Atom Factory and is a past FlashFWD SoundWAV Honoree (2011).
]]>By Greg Kumparak via TechCrunch
“Hot damn, the Disrupt NY 2013 Hackathon was great. Even with the hackathon over and the winner declared (Way to go, Rambler!), we keep finding more projects we want to highlight.
Built in just 24 hours, Game Of Tones is a proof-of-concept game that, with a bit of work, could teach you to play the actual guitar (versus, say, Rock Band — which, while a great game, is about as effectiv
Game Of Tones works in unison with a real-life electric guitar, paired to the computer through a line-in converter. As you strum, notes are fired from the neck of your on-screen hero’s guitar. Different chords result in different attacks, currently represented as notes of different hues. Strum an A, and blue notes fire out; strum an E, and red notes are fired…
The team says they’d like to expand the concept into something more, mentioning the possibility of some sort of forever-runner platformer with enemies vulnerable to different chords, or a multiplayer shredding battle.”
Check out the demo and the full post on www.techcrunch.com
]]>Find the full review of Soundwave here.
Soundwave is a brand new music discovery and sharing app, developed by a team of creative people based in Dublin, Ireland. The app’s active use has been a long time in coming, as the company began its work in February 2012.
Recently having attended the South by Southwest Festival in Austin this past March, and having shown their hard work in action, Soundwave is now signing up users for its newest beta version and working furiously to make the app better everyday. Brendan O’Driscoll, Founder of Soundwave, chatted with me about the app inspiration, its global potential and even gave a peek into the next “wave” to come:
SoundCtrl: First of all, congratulations on the beta launch. It’s been really neat watching you and the rest of the Soundwave team evolve, even in the short time I’ve been following along prior to SXSW. Music blogger Damien Joyce deserves a nod here, as he was responsible for introducing us to one another!
While this might be one of the most obvious starting questions, I think it presents a worthwhile level of intrigue: Why is Soundwave here today? Where did this concept come from? Considering that in recent times, music discovery apps have seemed to multiply faster than users can download them, the desire to push through with something you are convinced has its own character must mean your source of inspiration is something really striking…
Brendan: We always thought that finding new music was a chore and were constantly looking for simple new ways to find new music. Apps, websites and clever recommendation engines weren’t keeping our attention either so we spent most of the time asking each other and our friends about what new songs we had recently found.
Then one day when I was working in Sweden, I was coming home from work and saw a tall, blonde Swedish girl almost walk into a tree because she was so engrossed in the song she was listening to. I immediately wondered if there was a way for me to find out what the song was- and I looked around for apps that could give me this info- but there were none.
That week, I Skyped with my cousin Aidan and discussed the idea further. After some initial validation of the idea from musicians and friends, we applied to the NDRC LaunchPad Programme in last spring with the Soundwave idea and a hunch that we were on to something quite unique in the crowded space of music discovery.
There are apps that help you identify a song playing in a club (Shazam), record your own song (SoundCloud), listen to a song on the radio (Pandora), and music subscription services (Spotify and Rdio) where you can listen to a full song. But, if you are looking to find new music based off of what your friends listen to, your current location, or even discover what the most popular hip/hop songs in Brooklyn are right now, there was no efficient method in the space.
Soundwave’s objective is to make it easy and fun to find new music in a way that provides highly relevant content to you. Its your app that shows what your friends, family and favorites (musicians, athletes ,celebs) listen to which gives you inspiration when your finding new music!
SoundCtrl: Continuing with this theme about your inspiration: The “Music Map” feature has to be my favorite aspect of Soundwave’s interface, as well one of the strongest factors to set the app apart. Are you, or the rest of the team, heavy travelers and is that what brought this feature into being?
Brendan: Yes, travel did influence the ‘Music Map’ feature. When I lived abroad in Sweden I was exposed to entirely different tastes in music, and I shared my song discoveries with friends in Ireland via Facebook and Twitter. And likewise, they kept me in the loop with music trends in Dublin. Now, with the Soundwave app, I can simply draw a circle over Texas, Amsterdam, or Sweden and see what songs are actually playing in real-time. With Soundwave, I can instantly learn what is trending in that location. No other app out there combines social, location and music discovery in such a hyper-local and relevant way- it’s the new SoLoMo- it’s SoLoMu!!
SoundCtrl: Might you share with us some thoughts on your trip to SXSW? How was the reception to Soundwave as a new service and concept?
Brendan: SXSW is the dream for a music start-up- it is the place where you literally run into the key movers and shakers in the tech/music scene- from Robert Scoble to the founders of Foursquare and SoundCloud. We are based outside of the US, so we were looking to make some headway in the US- and SXSW provided us with the perfect forum to show off the app and build a number of strategic partnerships.
SXSW was also great for trialing a marketing stunt- we asked a local dance crew to preform on 6th street with no audible music- just with headphones on. Curious spectators could only find out what songs they were dancing to by checking out our #SXDancingGuy Twitter feed or by signing up for the app beta.
After SXSW, we rented an RV and drove across the US to Las Vegas and San Francisco for some very productive follow-up meetings. All in all, our trip to the US was quite the adventure! As you can see from the pin drops attached, it was also a great way to test the location aspect of the app. On our next trip over, we want to curate the top plays for Route 66 – how cool would that be!
SoundCtrl: As I alluded to in my full review of the app, do you think Soundwave has the potential to help reduce some of the homogeneity of music in the western world, knowing that playlists of anyone, in any part of the globe, are only a sound circle drawing away?
Brendan: Soundwave gives you the ability to ‘explore the latest music trends in New York while on the bus in London’. Music began as a community based and tribal event. Even today, each community has it’s own unique vibe and music taste. With Soundwave, you can tap into that from anywhere in the world.
SoundCtrl: Regarding some of the technical factors involved in using Soundwave: I noticed that when the app cannot retrieve a song’s metadata in order to play it back, users get routed to an internal version of YouTube to cue up an available version of that same track for listening. However, it seems international content barriers are blocking the way when it comes to hearing some of these songs in other countries. Does Soundwave plan on mitigating this issue with future releases or is this more of a deep rooted legal battle with global PROs and access limitations, with which you are not wanting to tamper?
Brendan: We did not set out to become a music player like Spotify or Rdio; Soundwave works side by side with these existing music providers as an aggregated music discovery feed. The problem we found with content providers is not that they don’t have enough content. They have too much. Spotify has a library of over 20 million songs and users often freeze when faced with this amount of choice. As a result, we wanted to position ourselves as a content discovery platform and not a content provider. As you mentioned, this means we can steer clear of any licensing issues Regarding YouTube content availability – that’s all on YouTube’s side. We’re working on a smarter results system now that only returns “available content” and also chatting daily with the team at YouTube. Regarding your questions above about “Most Liked and “Most Disliked” charts, those charts in the ‘Explore’ section of the app are compiled globally –every user of Soundwave is included in this data. The ‘Explore’ section is where we plan to put interesting content we want to feature for our users –new bands to join the app, top ten charts of popular music festivals etc. But at the moment it is where the global charts live. We plan to have more specific charts searchable by genre, groups and location down the line. Right now you can see an individual user’s Top Charts, and in the next build you will be able to see location charts when you draw a sound circle on the map.
SoundCtrl: Can you tell us any new capabilities or specific features you are hoping to develop in future versions of Soundwave?
Brendan: Our development team is hard at work ensuring that we will be able to pull song listens from all music players. We currently collect song listens from Google Play, Rdio and all native smartphone music players, but we plan to expand this offering in future releases.
We are also working on a groups feature- you can organize your friends into groups- ie ‘Indie Music Fans’ and specifically recommend songs to a particular subset of followers.
We also see a strong use case developing for large events and music festivals. Next year we hope that Coachella attendees can draw a Soundwave circle over Indio and see the most liked, disliked and played songs by genre in real-time. We have big plans for the future, so stay tuned!!
Currently, we are in beta collecting feedback from a growing Irish community of users. We are optimizing on both platforms, both Android and iOS and currently work on tablets too- so readers- sign up for the beta right now at www.getsoundwave.com.
Kira is an old school music nerd with a love for all things creative; always searching for music’s common ground. She graduated with an M.A. in Performing Arts Administration from New York University. Drop her a tweet @shadowmelody1
]]>By Caroline Heneghan
Have you ever spent several minutes or even hours refreshing your Twitter feed for all the latest news, gossip and hashtags? For some, this time at the computer or watching from your mobile device may have even replaced time spent sitting in front of the TV. But wouldn’t it be even better to not have to sift through all the noise to get to the meat of the best and most important updates to you? Now with Trending 10, a production of Trident, Fuse and of course, Twitter, you can.
As a product of Fuse, the national music television network of the Madison Square Garden Company, you can expect Trending 10 to involve all things music—when it comes to Twitter at least. Instead of sifting through endless Twitter updates trying to find your favorite artists’ latest thoughts, tour updates and the like, Trending 10 will curate these posts to bring only the best and most relevant trending bits to the conversation. In fact, the entire conversation will be exclusively driven by updated Twitter feeds and real-time Twitter conversation spikes—the first multiscreen and multiplatform Twitter TV show of its kind.
The way it works is that Trending 10 shares the top 10 trending music-related stories of the day straight from Twitter. To do this, the exhaustive Twitter posts are filtered through Fuse’s Heat Tracker technology, which determines which artists are currently generating the biggest racket in the Twitterverse. The real-time online social conversation of music lovers drives every aspect of this program, including the broadcast itself, “sneak peek” digital shorts, exclusive sharable content like interviews and articles and live online access to the Heat Tracker at Fuse.tv/T10.
The Heat Tracker on Fuse’s website is currently a mass of multicolored circles with different artists’ photos whose sizes correspond to the depth and breadth of conversation on Twitter. Along the bottom is a graph that demonstrates which hours of the day feature the most Tweets. These features can help you stay on top of all of the music Twitter conversation as well as get a clue as to what the show might cover that week. Trending 10’s own Twitter account keeps you posted on show times as well as sneak peeks into subjects being featured on that week’s show.
All in all, cofounder and gum producer Trident, through Trending 10, aims to facilitate the social media conversation, brought to you by yet another screen—your TV—and engage viewers and followers of the show through all of its social channels. This interaction will help Trident access its customers at their every gum-chewing moment—standing in line at checkout, commuting, etc. Fuse allows Trident to reach their music-loving customers in unique and interactive ways, making the brand more accessible using a fresh platform that contextualizes the social conversation of the day.
The Trending 10 half-hour countdown show airs weeknights at 7:30e/6:30c on Fuse’s linear network and is hosted by Yasmine Richard of Top 20 Countdown. The program also features guest hosts like Dan Brown and Elaine Moran.
]]>By Keith Nelson, Jr.
Ever since social media connected every human with one another, word of mouth’s promotional value has increased exponentially with Facebook statuses acting as digital billboards. How do you revolutionize a constantly changing medium? Reward fans for being fans. Former Goldman Sachs employees took that idea and manifested it into a social reward service called Jamplify where artists can reward fans for constantly promoting the artist. Given their own custom URL, fans can share the artists’ music, music video, etc to Facebook, blogs, and a variety of other online platforms which can help them garner prizes set by the artist for the fan with the most referrers.
The service, which started in August of 2012, is not some unknown powerhouse. In March of this year, the startup raised $600,000 from an array of investors.
Jamplify co-founder Moses Soyoola spoke with SoundCtrl about the rise of Jamplify, its future, “Jampaigns,” and more.
SoundCtrl: How did the idea for Jamplify form?
Moses Soyoola: Our CEO Andy woke up one morning to a music video in his inbox that had hit 300,000 views just from word of mouth. It sparked the idea that fans can be a powerful marketing asset and that artists need better tools to drive word-of-mouth.
SC: What has the past year meant for the Jamplify brand?
MS: We launched Jamplify in August and have had a really exciting year, winning best startup in marketing and social engagement at Midem and best startup at Canadian Music Week. In the last nine months, we’ve worked with big players in the major and indie label communities and with names like 50 Cent and Bruno Mars. The last year has been amazing, but it’s just the beginning.
SC: Jamplify turns an artists’ fanbase into a digital ad agency with allowing them to promote their own unique link. Why this method?
MS: Fans are powerful and effective marketers. By giving each fan their own unique referral link, the fan can spread the word wherever they have social reach, whether Facebook, Twitter, or obscure community forums where they might be active. The average fan drives 50 referrals withJamplify, and that’s a testament to their creativity and tenacity in sharing their link around.
SC: What has been the most common “ScratchBack” offered by artists? What has been the strangest or most inventive?
MS: Most common: free tickets to shows. Most inventive: a day in the office with 50 Cent at G-Unit records to do a 12-photo shoot and make a 50 Cent calendar.
SC: Since Jamplify rewards users for referring links do you think this could cause the artist to have momentary fans instead of long lasting fans that are more engaged?
MS: Because the rewards are always things related to the artist rather than something like cash or an iPad, the fans that promote are the ones that really care about the artist. A person isn’t going to try to win tickets to a show if he/she doesn’t actually like that artist. In a lot of ways,Jamplify helps artists develop stronger relationships with their most influential fans. We’re building in a host of new features which will enable artists to reengage their promoters around all of their content releases and deepen those relationships over time.
SC: What will the new $600,000 in investment money rouded up last month go towards?
MS: The $600,000 investment will be focused mostly on product development. We’re building Jamplify into an ongoing digital street team platform that will provide long-lasting promotional value for the artists we work with.
SC: Jamplify connects to YouTube but are there plans of expanding the connection to other streaming platforms such as Spotify and SoundCloud?
MS: We’ve already run jampaigns for embeds from SoundCloud, and we’re set up to do jampaigns for Spotify or any streaming platform. Jamplify can be used to promote anything with a URL – so Spotify playlists, Rdio playlists, etc are all fair game.
SC: What are the people at Jamplify actively working on improving about the service?
MS: We’re really excited about the data that we can show artists on their top influencers. These are fans that can reach thousands of people with a tweet. Our goal is to help artists identify and foster a stronger relationship with these valuable fans. We’re building in all sorts of functionality to make this happen.
SC: What are the plans for 2013?
MS: 2013 is about helping artists get more than ever from word-of-mouth. We have a great group of artists that we’re working with today, and we’re excited for the Jamplify community to grow as more artists sign up.
]]>By David Chaitt, SoundCtrl Board Member
Going to Ad Age Digital Conference, I had little or no understanding of photo app developer Aviary. Tobias Peggs, their CEO, was one of the most fun and informative speakers I’ve seen in a while. He gave the audience a full download on all things #mopho aka mobile photography, which is a term with which I admittedly wasn’t familiar.
Aviary powers the photo editing functionality for 3700 apps including Wallmart, Twitter, Flickr, Photobucket, and their own app. Their filters have been used on 3.5 Billion photos. Needless to say, they are experts at what they do. They know what #mophos want.
During his presentation, he also briefly alluded to a recent partnership with Atlantic Records for the launch of Portugal. The Man’s new record “Evil Friends”. All I gathered was that users could download a photo app powered by Aviary where special photo filters could allow users to create stickers inspired by the band. Take a look at the Instagram photo stream to put a visual to what this exactly means.
To get a little more context and detail to what the partnership entailed, I reached out to Atlantic and was put in touch with their Director of Digital Marketing, Thanh Nguyen. He had the following to add:
John Gourley, Portugal. The Man’s frontman, is also a visual artist. Along with his art collaborator, Austin Sellers (together known as The Fantastic The), Gourley designs all things visual for the band—album covers, photo illustrations, tour sets, and more.
The Evil Friends sticker pack with Aviary was a perfect partnership, as John was already creating images on his own by drawing on photos to correspond with the theme of the album, Evil Friends , and posting them on the band’s Instagram. Aviary’s technology allowed us to give fans a chance to create their own artwork inspired by John’s.
Because Portugal. The Man has always been so hands-on in all visual aspects of their music, a photo centric campaign just felt very natural for both the band and their fans.
Aviary has an amazing product with a large network of users, so they were the perfect partners for us. It’s often easy to have low quality photos/submissions when you’re running a UGC campaign, but with an app like Aviary and the Evil Friends sticker pack, a casual user can easily create their own images in line with the artist’s vision and aesthetic.
Whether you’re a fan of the band or not, it’s probably a good idea to download the app and try to think about how you can push the needle a little more to engage all the #mopho junkies out there.
]]>Twitter #Music is now up and running as Twitter announced this morning on Good Morning America and via a blog post.
According to the post, which claims that the new service will “change the way people find music,” Twitter #Music will utilize twitter activity to “detect and surface the most popular tracks and emerging artists.” It also places an emphasis on what music artists themselves are listening to and follows a spiderlike web of tweets and engagement to draw connections between artists with similar tastes.
Currently, the service pulls its music from iTunes, Spotify, or Rdio. By default, previews will come direct from iTunes but Spotify and Rdio subscribers can log into their accounts to access full streams… pretty smart to engage across multiple platforms rather than creating a clear alliance with just one and cannibalizing other listener activity. Twitter also claims that it will make a concentrated effort to “explore and add other music service providers.”
The browser version is very user friendly and is reminiscent of We Are Hunted’s design, with artist’s images loaded into squares that when clicked, allow you to listen to the track, follow the artist, compose a tweet or go purchase the song. Also pulled from We Are Hunted’s interface is the ability to rearrange the checkboard based on filters like “Popular,” which sources music that is trending on Twiiter, “Emerging” which claims to find hidden talent found in tweets, “Suggested” which suggests the music your favorite artists listen to, and “Now Playing” which is music tweeted by the people you follow.
All in all, it’s a bold move from Twitter which as long desired to enter the music space. Twitter is ripe with data that can make connections between fans, artists and music that is visible nowhere else. The app is available in the App Store and the web version is live now.
]]>By Jason Epstein
VOTE FOR PHEED FOR BEST IN MOBILE & TABLET HERE
Pheed is a free social media platform that puts an emphasis on creative endeavors with content creation, monetization of one’s offerings and simple copyrighting all tied together by the ability to upload text, photos, videos and audio in a single place. Sound Ctrl writer Jason Epstein spoke with Pheed Communications Director Chrysta Olson about Pheed’s members, features and what’s coming next.
SoundCtrl- Whenever someone is faced with joining a new social media platform they ask themselves unconsciously how it will benefit them. Can you tell us how Pheed works, how it differs from competitors such as Facebook and how it benefits users?
Chrysta Olson - People are becoming overwhelmed with how many options there are for sharing content online. You have Twitter for text, Instagram for photos, Viddy or Vine for videos, Soundcloud for sound, Ustream for live broadcast. With so many options, it becomes difficult to know where to put your content, and no one wants to have a dozen apps on their phone. The idea behind Pheed is that you can share all forms of digital content in one place, in one clean and easy to use app.
The all-in-one approach is definitely one of the appeals of Pheed. We are also the first social platform that allows users to monetize their content if they wish to do so. While it is free to join Pheed, and many users choose to share their content for free, we believe it is fair to offer content creators the option to monetize their content if they feel the desire to do so. Our hope in the long run is that this will incentivize great content creation for the web.
Another big benefit to the platform is that users own and control all of their content. For creatives – photographers, artists, musicians, actors, comedians, athletes, brands, etc., this is very appealing as we live in a digital age where it’s not clear who owns what. Pheed users can actually select a ‘copyright’ button, which will encrypt a physical watermark on photos and videos with the channel holders name so that content is always linked back to its creator.
SC – Pheed’s tag line is “Express Yourself”. What kind of user does Pheed generally attract and how are they able to express their individuality?
CO - Pheed has become especially popular among creatives, entertainers and youth. Users between age 15 to 25 make up 84% of the overall user base, there are over 500 verified Twitter users on Pheed and over 700 of the top 5,000 most followed users on Instagram. Brands such as MTV, Bravo, People, Hurley, Vibe, and Nasa are also using Pheed as a social media outlet for their content.
On Pheed, users can upload photos, videos, music, voice-clips, and text to their channels – with very few limits on the size or shape of the content. If you really wanted to, you could upload a feature length film on your Pheed channel. Additionally, if you feel your content is worthy of having people pay to access it, you can place a paywall on your channel, or do a live broadcast pay-per-view video. Users select the price, and as mentioned above, they always own and control the rights to their content.
SC – What’s next for Pheed?
CO - An update to the iOS app with new privacy settings and live broadcasting pay-per-view via the app (currently available via the web) will be released early April. Our Android app is also currently in development, and due for release the end of April 2013.
]]>By Carolyn Heneghan
VOTE FOR SONGZA FOR BEST IN DISCOVERY HERE
Ever sit and stare at your massive music library, wishing you could just blink in a playlist to suit what you’re doing or feeling at that moment? Maybe you’re studying for a major test or finishing up an important project for work. Or maybe you’re throwing a party, having some friends over or just want to get pumped up for the day or night. Without a program like Songza, keep staring.
Songza and their Music Concierge endeavor strive to enhance whatever you’re doing or feeling through music. They want you to study and work harder and with more focus, to relax better after a long week and to get fired up when you’re entertaining a crowd or trying to run that extra mile.
Whether you’re in front of your PC or using a mobile device, your Music Concierge will be there to serve you wherever and whenever you need him. Simplicity is the name of the game, and the team at Songza has worked hard to present specially curated playlists for all kinds of activities. They also aim to make these playlists easily and quickly accessible with as few clicks as possible.
For example, on a Tuesday afternoon, Songza will bring up selectable activities like “Boosting Your Energy,” “Working (No Lyrics)” or “Brand New Music.” On a Thursday morning, the Music Concierge might pull up activities like “Waking Up Happy,” “Singing in the Shower” or “Working Out.” When you select one of these activities, say “Working (No Lyrics),” you’ll then find suggestions for genres of your playlist, like Ambient, Jazz Masters, or Electronic. Click on any of these, and you have a selection of playlists to choose from. That’s all you have to do to find some of the best music for your exact moment, brought to you by more than 30 music pros who are all experts in their specific genres.
So who are the brains behind such a useful and innovative music platform? We caught up with Eric Davich, co-founder and Chief Content Officer of Songza, to find out more about the birth of the Music Concierge idea and the 15-person company who brought it to life.
SoundCtrl: Where did the original idea for Songza come from?
Eric Davich: In 2010, we sold our first company, Amy Street, to Amazon. We wanted to concentrate on streaming full-time. We started that by launching Songza, which was a social radio. What that meant was that, at the time, people would suggest playlist themes and anyone could add songs to the playlist. That kind of got out of hand—when you let anyone add songs, everyone might not have the same taste or follow the same rules and guidelines. If you had a playlist, you could make it open to the community or close it so no one could add songs.
The more we curated the playlists, the more people responded to them and the more we realized that in our lives, we used these playlists to enhance our daily life and activities—not just watching the screen or watching the record spin, as they say. So we were listening to these playlists while we were working out, and we created a playlist to make working out better, things like that. As we did more activities, moods, situations, eventually we decided that what we needed was a big library of playlists unlike anything that existed anywhere else on the web.
In 2011, our first mission was to build expertly curated playlists based on a record store clerk to make a really great browsing experience for when you knew what you wanted to listen to or what activities you wanted to do. And that still exists today on our website, where you can find barbecuing and scroll through a list of over two dozen playlists perfect for barbecuing.
The more we showed it to people, the more we realized that they were having a hard time finding the perfect playlist in five seconds or less, which is what we wanted to do. Thus began the concept of the Music Concierge. Basically the idea was that instead of coming to Songza and having to type search terms to tell us what you were doing or browsing, we present you with several different options based on what we knew about you, time of day, device, etc.
Since March 2012, it really caught on quickly—first with the tech scene. The more good press we had, the more tech folks got into it and the more prominent it became. In June of last year we launched the iPad app and Apple featured it on the front page of the iTunes store which took it to a whole new level in a matter of days. We had 1.5 million downloads in 10 days since we were featured on the Apple iTunes store and became the number one music app and number 32 in all categories. It was sort of a game changing occurrence for us. We’ve been growing incredibly quickly ever since.
SC: Where does all the music on the app come from, and how did you choose it amid an endless amount of music available?
ED: We have a catalog of all the music that’s been commercially released digitally, so we have a 20 million song catalog. The songs that get played are all handpicked by our team of about 30 music experts, so each playlist is curated by an individual, and that individual is usually an expert in that genre of music or lifestyle category and knows the best songs for that particular situation based on their knowledge and experience.
SC: What is your work environment like?
ED: Everyone from Songza works in our “bare bones warehouse style office.” We have a big open room that most of us work in and a couple of offices where we pop in for phone calls. It’s a very light atmosphere—there’s always music playing, and we’re always asking each other for feedback on what we’re doing. It’s very interactive, and there’s a really great community and friendly aspect to the way that we work here. And of course we’re all kind of weird people, and there’s a lot of personality and charm rather than a soho-chic-cool office with fancy furniture. Also recently we had some artwork made that have some of the icons for our Music Concierge printed on canvas. One of our users is an artist, and on his own time, he designed a picture of our mascot, the Songza monster, so we had that printed out, and we have that hanging in our office as well.
SC: What has been your favorite part about working on Songza?
ED: We have a great team, and I think that being a 15-person company competing with gargantuan multi-million/billion-dollar companies in the music space and being able to disrupt that space with a small team of quirky people has been huge for us. And that’s been the most fun. We’ve been hard at work making the best music-listening experience that you can have digitally since 2006, when we started Amy Street, so it took us a long time for each massive plan. To be the same team, same founding team throughout and being able to see our vision through has really paid off for us.
]]>By Jason Epstein
VOTE FOR MIXIFY FOR BEST IN DISCOVERY HERE
Mixify is a DJ-centric web community that is hyped as a “never-ending electronic music festival where DJs live stream from around the world while chatting with friends.” The site allows users to host their own electronic dance music (EDM) parties, make their own mixes, learn DJ techniques, socialize, check on what is currently charting and even buy and sell user-made music. SoundCtrl writer Jason Epstein spoke with Mixify CEO and Founder David Moricca about electronic dance music, Mixify’s passionate fan base and what’s coming next.
SoundCtrl- EDM has been a hot topic in music over the past year. What inspired Mixify and what problem does it seek to solve for the EDM community?
David Moricca - As a team, we started noticing this “EDM” explosion well before the articles started flowing out. We learned it old fashioned way – through some user insights from the first product the company created called BreakoutBand (an online music creation site).
Within the EDM space, we identified the live experience as one of the more digitally unaddressed aspects of the genre. We found that many dance artists, labels, promoters and venues were looking to engage their fans in a deeper way digitally around live streaming, but the current options available to them were limited. Most of the audio streaming options were not very fan-friendly, while video streaming had a plethora of its own challenges– namely, audio quality, scalability, cost and brand control. Most importantly, video streaming created more of a passive consumption experience for the fan.
With Mixify, the idea was to innovate around live streaming and create the concept of the digital event and digital festival. As an audio streaming platform at its core, the sound quality of a Mixify stream is really high – good enough to power a real party. Additionally, the artist can bring in their own custom visuals for their events on Mixify – the very same visuals that fans would be seeing in a live environment. We tied this all together through a virtual venue with real-time chat, so fans and artists could have this shared, active social experience. The combination really works.
SC – Mixify has evolved quickly since launching in Mid-November, 2012. How do you prioritize the product development for the platform?
DM - We are really fortunate to have a passionate and growing community of up and coming DJs who use Mixify regularly and serve basically as an extension of our product team. Some of our members have even established their own forums, like the Mixify Community Group and Mixify Mafia Group on Facebook where they support each other as DJs but also provide us an ongoing product feedback and idea loop. In fact, hundreds of these types of users have been using our mobile app in beta over the last several weeks, allowing us to fine tune it. Similarly, fans who tuned into our RISE Digital Festival last month helped us identify the big opportunity for Mixify to be used as a second screen experience for parties in a physical setting. With this kind of passionate DJ and fan community, we are able to appropriately prioritize our feature development.
Our bigger partners also give us great feedback and insight into what is important to them. Oftentimes, we need to balance the needs of larger established partners with up and coming DJs…but so far, so good.
SC – What can we expect to see coming next from Mixify?
DM - From a product perspective, we are extremely excited about the new features in development that are all about widening distribution and enabling DJs, promoters, labels and venues to monetize on the platform. First, we are weeks away from launch of our Android and iPhone mobile app, which will enable to fans to tune into the livestream and chat on the go. Second, as we have seen more fans use Mixify on the second screen, we are making some interface enhancements to accommodate a wider, bigger screen experience for fans partying with Mixify in a physical space. Third, we are adding a monetization feature that enables artists to ticket their events or add a VIP tier where they offer fans something special (unreleased tracks, private digital events, tickets for upcoming tours).
From a partner perspective, you will see Mixify launching more digital festivals, recurring series and live stream events with a broad range of big-name artists, labels, venues and festival companies. Details coming!
]]>By Brian Anthony Hernandez, via Mashable
Mashable has compiled a pretty great 35-vine long list of celebrities, rising artists and music brands who are giving fans a visual and auditory glimpse into their lives with intimate 6-second, GIF-like videos. Here are the top ten… go check out all the vines on Mashable!
1. Rolling Stone Honors 5 Decades of The Beatles
2. Paul McCartney Challenges Fans to Name Song
3. Enrique Igelsias Shares Fan’s Footage
4. 30 Seconds to Mars Thanks a Fan
5. VH1 Interviews Jared Leto About Vine
6. Dido Shows Off Rehearsal in a Hotel
7. Live Nation Promotes Tickets With Video of Pink
8. Steve Aoki Curses and Air Humps in Limo
9. Jason Derulo Meets With Record Label
10. Rolling Stone Pimps Out Flaming Lips Singer’s Nails
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Fred Wilson of Union Square Ventures recently posted a piece on his blog AVC outlining the potential for a roaming network which would connect all music streaming services such as Spotify, Rdio, XBOX Music, Rhapsody, Daisy, etc.
Wilson compares the idea to how banks create networks to offer customers more ATM choices or how mobile carrier services often open their wifi networks to customers of competing carrier services – “Roaming is a great solution to the problem when multiple businesses offer a proprietary commodity service. The customer is forced to choose one provider but in effect the service is identical from vendor to vendor.”
It’s an interesting model… Spotify and Rdio do offer a very similar means to access a very similar catalogue. Opening the gates would certainly help music listeners connect with each other, discover new music and increase plays across the streaming platforms. But would it really be in the best interest of these services to open their doors to the competition? By allowing users to play on other playgrounds, does a company run the risk of the user not coming home for dinner?
Read up on Wilson’s theory here. Definitely a concept worth exploring and opens to broader conversation of how these companies will need to continue to innovate in order to increase accessibility, choice and convenience across the board for their listeners.
]]>By Robert Urquhart via The Creator’s Project
“Alexander Grünsteidl, director of user experience at Method, London and owner of maverick digital think tank, Digital Wellbeing Labs, is a man on a mission. Passionate music lover and vastly knowledgeable in the power of a seamless digital and physical hybrid world, Grünsteidl recently brought his experience to bear in order to rethink the way we interact with our nightlife.
Not for the first time Grünsteidl left the safety of the studio behind—the Post-it notes and wireframes—and stepped out into the night to produce a club night at the Village Underground, a performance space in the East End of London. The night, austerely called No Admittance After Eight, or NAA8 for short, was billed as “a multi-sensory musical journey through the night”—but it was more than digital hyperbole. Behind the—admittedly difficult—PR was a promise to prototype a new way in which we relate to clubland and the music industry at large.
Five DJs formed the backbone of the narrative—a concept that Grünsteidl pays particular interest to. The moods entitled Walk, Pulse, Bounce, Shine, and Breathe were played by Duncan Brown (sound engineer for Basement Jaxx), Felix Buxton (Basement Jaxx), Mira Calix, SuperTanker and Koggi. The lighting atmosphere was provided by Satore Studio’s Tupac Martir and Grünsteidl became mixologist for the night, producing five different cocktails to round off the multi-sensory experience.”
Read up on the details of the project at www.thecreatorsproject.vice.com
]]>The battle for in-car entertainment is being turned up according to a study by NPD Group. The 13-35 year-old demo clearly shows an unprecedented shift in favor of Internet Radio rather than traditional terrestrial.
According to the study, this demographic spends 23% of weekly music listening time using online streaming radio services like Pandora and Spotify, up 17% from just a year ago and 51 percent reported that most of their music listening was in their cars.
Interestingly enough, mobile is a popular venue for listening to streaming radio as well. “More than half of Pandora and iHeartRadio users employ their mobile devices to access those services.”
It’s also important to note that among older listeners, AM/FM radio remains the dominant form of in-car listening, accounting for 41% of weekly music listening time versus just 31% spent with Internet-based radio services.
(photo source: Digital Music News)
]]>By Somin Sengupta via The New York Times
“The company will make its biggest leap yet in that direction Thursday, when it is expected to introduce a moderately priced phone, made by HTC, powered by Google’s Android operating system, and tweaked to showcase Facebook and its apps on the home screen…
Facebook already functions much like a phone, allowing users to chat, send group messages and even, in one experiment with users in Canada, to make free phone calls over the Internet. Its platform hosts a variety of applications that deliver things like music and news, and its newsfeed has been tweaked to showcase photos, which is what Facebook users post by the millions everyday.
There are fledgling experiments with commerce. Facebook users can buy online and offline gifts on Facebook with their credit cards. Equally important, Facebook’s insistence on real names means that Facebook can be something like an identity verification service. It is well-positioned to be a kind of mobile wallet, containing the equivalent of an identity card and seamless way to buy things.
‘They want to have all the services that consumers want to use in the mobile world,’ said Karsten Weide, an analyst with IDC. ‘They want to be the major consumer Internet platform.’”
For the full story, visit www.nytimes.com
To watch a live blog of Facebook’s announcement, visit www.news.cnet.com at 10:00AM PT
UPDATE, 4:15 PM: Facebook announces Facebook Home
]]>By Carolyn Heneghan
With a plethora of artists and events, liner notes and memorabilia, the Concert Vault website and now iPad app aim to augment your experience of live music footage.
The idea began with all-things-music company Wolfgang’s Vault—“Where Live Music Lives”—and their idea to expand upon their Concert Vault website to reach users’ mobile devices. Beginning with Sonos, Android and iPhone apps, this endeavor eventually moved on to the iPad, where they’ve put together the most enveloping app yet.
“This idea was to give people a more robust experience than going to the site on the iPad,” said George Howard, COO and business developer for Wolfgang’s Vault. “It’s a very immersive experience of the product and website, from videos to artist info to photos to all the tracks. It’s the best music experience out there.”
In order to make this idea a reality, they partnered with Groovebug, who would provide them with an already successful platform that would work for their website. Known for their Blue Note app, which features an enormous catalog of jazz footage, Groovebug leapt at the chance to work with Concert Vault, and began their collaboration in October 2012.
“I came across Concert Vault, and they just had such an amazing catalog of music videos and memorabilia—perfect for our platform,” says Groovebug CEO and cofounder Jeremiah Seraphine. “I contacted the CEO of Wolfgang’s Vault and told him about the platform we were developing. They thought it was a great fit as well.”
“[Groovebug has] an approach that they’ve used with others, and we have our own ideas and goals,” says Howard. “But it was very collaborative and great in terms of taking our ideas as they had a fresh set of eyes. We worked well together toward getting the sum greater than the single part.”
The finished product is one that seamlessly blends the two companies’ products and services. From the moment you open the app, you know that you’re in for something unique and unlike any online music experience you’ve had before.
The homepage displays a selection of featured videos in a panel of squares on the left and a catalog of artists on the right. Across the top you’ll find a selection of channels that you can choose from to browse more specific videos to suit your tastes. These currently include rock, blues, jazz, country, folk & bluegrass and indie. Selecting one of these genres will pull up a more specific set of videos and artist catalog.
The amount of artists, streaming videos and curated playlists you’ll find—hundreds of thousands—is nearly overwhelming. You can search specifically for who or what you’re looking for, or you can spend hours skimming over every artist and video they have built in to this expansive app. Plus, once you’ve selected a performance to watch, additional features help to immerse you even more into each artist or video you’ve selected.
“We try to use our platform to build a really immersive experience around music that is 360 degrees,” says Seraphine. “You’re getting videos, really detailed liner notes, images, comments from users, memorabilia—all of which we pull together to take that to a different library of music.
“This app is not like Spotify where content is all the same across all sites,” says Howard. “We have our own content that you can’t get anywhere else for a truly unique experience.”
As an example of the type of video content they provide, classic rock aficionados will enjoy a deep catalog of performances, including one exclusive, historic performance of the Grateful Dead right after they changed their name featuring Ken Kesey on the microphone. Indie fans will appreciate plenty of their own performances such as Daytrotter, Bon Iver, Mumford and Sons and concerts from the recent 2013 South by Southwest. Even Paste magazine concerts will be included in the app, along with hundreds of thousands of others.
The app just launched in March of this year, and after a one-week free trial, membership is available for $3.99 per month or $39.99 per year. Members now get two free featured downloads per week, which are hand-picked by Concert Vault editors. You can also buy a gift membership for the music lovers in your life.
The app caters to both new users and to providing a better experience for current subscribers of Concert Vault. In addition, the app is continuously added to as time goes on.
“Like everything that we do, it will be continuously improving and adding features,” says Howard. We’re really at the very edge of technology between airplay function, the preference engine and a lot of things that I think a lot of iPad apps are just starting to get. We will continue to refine the experience and add more functionality as we evolve—but we come out of the gate really, really strongly.”
Concert Vault is now available for download on the iPad for a free week trial, followed by a monthly or annual membership. It is also available for download for the iPhone, Android and Sonos.
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