At MIDiA Research we are currently in the final stages of producing the update to our annual landmark report: The State Of The Streaming Nation, a report which compiles every streaming market data point you could possibly need. In advance of its release in June we want to give you a sneak peak into a couple of the key areas of focus: streaming app usage and major label streaming revenue. Subscriber numbers only tell part of the streaming story. They are solid indicators of commercial success, but can often obscure how well a service is doing in terms of engaging its user base. That’s why we track the main music services’ active user bases every quarter. But rather than tracking Monthly Active Users (MAUs), we track Weekly Active Users (WAUs). The MAU metric is past its sell by date. In today’s always on, increasingly mobile digital landscape, doing something just once a month more resembles inactivity rather than activity. The bar needs raising higher. Companies like Snapchat, Facebook and Supercell measure their active user bases in terms of Weekly Active Users (WAUs) and Daily Active Users (DAUs). It is time for streaming services to step up to the plate […]
Mega-music publisher Sony/ATV yesterday announced a number of upgrades to its royalties portal in a bid to give the songwriters it represents “access to the most comprehensive and transparent data available about their earnings”. Good times. Most music publishers have been busy in recent years honing their royalty reporting systems for songwriters, mainly as a result as a phenomenon scientists call the ‘Kobalt effect’. The upgrade of Sony/ATV’s Score platform includes the introduction of “real-time access” to each songwriter’s royalty account, rather than waiting for cash updates at the end of each royalty reporting period. There’ll be detailed data about those recent earnings too, plus “an unparalleled overview of historic earnings information that can be searched and organised by song title, income source, time period and territory”. Pie charts all round I say. Says Sony/ATV boss dude Marty Bandier: “Sony/ATV prides itself on providing our songwriters and their teams an unsurpassed level of transparency and service with highly detailed royalty information. Additionally, within the next few months we will unveil the complementary Score app, further providing them with an unrivalled and groundbreaking insight into both their historic and current period royalties”. Oh yes, there’s going to be an app […]
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The MBW Review gives our take on some of the music biz’s biggest recent goings-on. This time, we look at Apple’s ridiculous mountain of money, while ponder what it might splash it on. The MBW Review is supported by FUGA . Apple has enough spare money to buy the entire music business. Just like that. According to its latest financial results, Apple Inc currently has a fictional-sounding cash position of $246.1bn – 94% of which ($231.3bn) is held outside the US. Judging by market caps and public valuations, Apple could snap up Vivendi ( $23bn ), Sony Corp ( $38bn ), ,
( $6bn ), Pandora ( $3bn ) and Spotify ( $8bn ) for less than a third of its current savings – and still leave change on the table. One of the few companies Apple couldn’t hypothetically afford for that kind of money is… Apple, whose current market cap ( $624bn ) makes it worth approximately 7,700% more than Daniel Ek’s IPO-chasing green machine, Spotify. So what’s Tim Cook going to do with this mountain of money? That’s a less important question right now than what he’s willing to do with it – especially in the […]
Sony Music Entertainment generated 134.83bn Yen ( $1.24bn ) from streaming music in calendar 2016 – and 40.65bn Yen ( $372m ) in the three months to end of December alone. That means Sony’s recorded music division is now earning approximately $124m every month, $31m every week, $4m every day and $167,000 every hour from the likes of Spotify and Apple Music. This quarterly streaming haul of 40.65bn Yen was up 30.3% on the 31.2bn Yen ( $286m ) recorded in the same period of 2015. Physical sales were still the top money-maker for Sony Music labels across the whole of 2016, but only just. CD and vinyl generated 137.23bn Yen ( $1.26bn ) in the year – 1.8% (around $21m) more than streaming. In the three months to end of December, which includes the bumper Christmas gifting period, Sony’s physical recorded music sales stood at 44.97bn Yen ( $412m ) down 24.6% on the equivalent quarter in 2015. As for download? Anyone whose business is still heavily reliant on iTunes may be about to wince. Over the course of 2016, downloads accounted for 65.62bn Yen ( $605m ), or less than a fifth of Sony’s total recorded music […]
Fiscal years100 billion Japanese yen/ billion U.S. dollars88.7177.372.1471.8164.9367.9677.6782.1681.0678.8668.7264.1363.8457.7260.4269.0573.0472.06 Complete Source Details This statistic shows the global revenue earned by Sony between 2008 and 2016. The official business figures were published in Japanese yen and the conversion values were retrospectively calculated using the rate from 31 March 2016*. In 2009, Sony recorded revenue of around 68.72 billion U.S. dollars. Show more… Statistics on “Sony” Related Studies: Available to Download in PDF or PPTX Format
There’s been another senior staff change at Sony, with Sony Music International chairman/CEO Edgar Berger the latest executive to leave the company. London-based Berger had headed up international since 2011, having previously been CEO of Sony Music in Germany, Austria and Switzerland. He’d been with Sony for 12 years and is leaving to pursue “new entrepreneurial interests”. Sony Music Entertainment chairman Doug Morris announced the news in an internal memo, saying: “Edgar has played an important role in growing our business around the world. He has helped drive strategic business initiatives and innovation across the globe. “We want to thank Edgar for his many contributions to Sony Music over the years, and wish him all the best in his future endeavours.” Sony UK made president-level changes at Columbia and RCA last year and also bought Ministry Of Sound Recordings .
The MBW Review gives our take on some of the music biz’s biggest recent goings-on. This time, we look at Sony Corp’s intriguing treatment of its music businesses. The MBW Review is supported by FUGA . These are highly eventful times for Sony’s music companies. So much so, it’s tough to shake the feeling that something big might just be brewing in Tokyo. The corporate structure of both Sony Music and Sony/ATV was thrown into uncertainty this weekend with the news that Michael Lynton was out – almost exactly five years after being named Sony Entertainment CEO. Lynton, who oversees both Sony’s music and movies (Pictures) businesses, is quitting to become a full-time Chairman of Snap Inc ahead of that company’s crucial IPO attempt. In his farewell message to staff, Lynton – an existing Snap Inc board member – said his resignation was “not an easy decision for me, and one that I arrived at after long and careful consideration”. Yet you wonder if this turn of events might actually be structurally advantageous to his employer. It’s striking that during Lynton’s final stretch (he’s staying on for six months to aid transition), Sony says it’s going to actively seek […]
Sony Music Entertainment UK Ltd posted a £198.1m turnover in the year ending March 2016, MBW has discovered. According to new documents filed with Companies House, the major music company’s UK base also recorded a post-tax profit of £14.1m. Although revenue (-16.8%) fell in the year, it was still a bigger annual sales haul than the business managed in both 2011 and 2012. In a strategic report, Sony Music Entertainment Ltd noted that its ‘key risks and uncertainties’ to be “physical music market decline and piracy, in addition to the strength of the release schedule [in any given year]”. However, the directors of the company also stated that they were confident it would “continue to deliver strong results in a challenging market through a strong release schedule, aligning its business model to the changing market and controlling costs effectively”. £139.3m of the company’s FY2016 turnover was generated in the UK, compared to £58.77m from the rest of the world. In the previous year, Sony UK generated £166.12m from UK sales, and £71.98m from RoW. In the 12 months ended March 2016, the business employed 289 people across sales/distribution and administration; an increase on the 287 employed in the prior […]
FACEBOOK TWITTER EMAIL ME Getty Images With a large swath of the industry onboard, how long before streaming services offer premium audio tiers? A large swath of the music business, including all three major labels (Universal Music Group, Sony Music and the Warner Music Group), the Recording Industry Association of America (RIAA) and music platforms such as Pandora, Rhapsody/Napster and HD Tracks, all in concert with the Digital Entertainment Group (DEG), today announced their support for studio-quality hi-res audio for music streaming. Hi-res audio redresses digital music’s traditionally compressed and largely inferior sound, which stems in part from the way MP3s were designed. Now, music industry entities have pledged to support new opportunities and add new premium audio music offerings to streaming services, much as they have with high-resolution downloads. “Universal Music has been laser-focused on Hi-Res Audio, across all of our label groups,” says Ty Roberts , Chief Technology Officer of Universal Music Group, in a statement. “But without the involvement of our technology and distribution partners, all of this would be in vain. Today we’re pleased to acknowledge the support of a number of leading digital providers for this new streaming concept”. The DEG, which advocates for […]
Five years ago, the demise of the music industry seemed almost inevitable. Recession, rampant piracy, falling CD sales and a fear that “kids just don’t buy music any more” had giant record labels, once oozing wealth, counting the pennies. Yet 2016 has seen a reversal of fortune – and the industry’s saviour is not what many predicted. Profits from music streaming, first championed by Spotify and now offered by Apple and Amazon , have given some labels their largest surge in revenue in more than a decade. At the beginning of December, one of the world’s biggest labels, Warner Music, announced revenues of $3.25bn (£2.66bn) this year – its highest in eight years. More significantly, $1bn of that was from streaming, more than double its download revenue and more than $100m more than its physical revenue. The surge in profits is being seen across all the major labels. In the first half of 2016, streaming revenue in the US grew by 57% to $1.6bn, and worldwide digital revenues overtook those from physical sales for the first time in music industry history, mainly because of streaming. This year’s most-streamed artist was Drake, with 4.2bn streams. There are 90 million people […]
Some Twitter accounts related to Sony Music were apparently accessed by hacker group OurMine this morning. The handles for Sony Music Global and Bob Dylan tweeted that Britney Spears was dead shortly after 8AM ET. “britney spears is dead by accident! we will tell you more soon,” the @SonyMusicGlobal account read before the tweets were deleted. A rep for Spears confirmed to CNN that the singer was, in fact, still alive. OurMine is well known for breaking into accounts like these, and in this manner. In 2016 alone the group accessed everything from Google CEO Sundar Pichai’s Quora account , to Facebook CEO Mark Zuckerberg’s social media accounts , to Twitter CEO Jack Dorsey’s own Twitter account . OurMine also got ahold of BuzzFeed’s website in October shortly after the outlet ran a story that probed for the identities of the hackers. And just last week the hackers accessed the Twitter accounts of Netflix and Marvel . Sony’s movie division was famously hacked in 2014 — a breach so big that the studio is still wrestling with the fallout. So take some time this holiday break to secure your accounts. Here’s how .
Over the last year the music industry has been in flux as artists, labels, and streaming services jockey over the best way to build the future of their business. Taylor Swift pulled her catalog from Spotify; Tidal launched a new platform owned by artists, not record companies; and Apple is preparing to muscle in on the market with its own offering. The one thing missing from much of this discussion has been the details on how deals get done between these groups, but that is no longer the case. More interestingly, the contract details how Sony Music uses a Most Favored Nation clause to keep its yearly advances from falling behind those of other music labels, how Spotify can keep up to 15 percent of revenues “off the top” from ad sales made by third parties, and the complex formula that determines how much labels get paid per stream. This contract — like every other contract involving a music label and a streaming service — has been secret until now. Given the myriad ways Sony Music came out as the winner, it’s worth asking who really should shoulder the blame for the lackluster streaming payments that artists like Swift […]