How internet is changing artist life

There is no secret that the music industry has been through over twenty years ago. After years of spiral album sales, this sector reached a new level in 2016, with over 100 million units sold, almost 14% less than the previous year, as sales albums were both physically and digitally.

This is not all the story, of course

A music industry’s sales rebound in music streaming, which surpassed physical music in terms of revenue last year. With streaming music revenue rising up to $ 6.6 billion – up to 41 percent – the music industry has improved streaming as a new gold goose.

This is a great change: the music industry has lost billions for streaming. Directed on CDs and digital downloads, there is no fact that CDs spread 84% sales over the decade, the industry finds “fighting for a few cents when saying dollars”, as the New York Times notes.

The musicians took pictures

However, the epochal change in technology is that the music industry wants to be unpaid for musicians. Troy Carter’s music manager tells TechCrunch that the label collects royalty received through streaming, keeping more than 70 percent of the commission. The contract associated with the music player with the label is intended to make revenue for record labels, not artists themselves. It is common for every artist who has labeled the label, only one successful – with a mathematical, simple labeling that protects the bet for all 20 builds.

Carter believes that streaming payments can be closer to CDs when it comes to increasing customers. Platforms like Repost make the same bet. Platforms designed to help musicians live through online audiences, working with artists and teams to calculate music distribution and improve their work.

Despite democratization in many platforms and technologies, it is very difficult for musicians to monetize content and fragmentation as an important part of the problem. “The music industry is more complicated than it should be,” says Joey Mason, CTO of Repost. “Despite all the technological advances, revenue collection facilities are not efficient enough to solve problems, copyright rules and regulations are different for each region, so often it is useless to try to collect revenue in a particular area.”

Mason says that for the artist this problem is developed in the fact that there is no easy way to collect all the income. They must work with entity entities – complete the rights of organizations, publishers, labels, distributors – to collect each of their rights. This is an artist’s ability to extend more time to developing entrepreneurial skills than creating new music.

Consolidate all sectors

When Mason and the founder, CEO Jeff Ponchick, co-founded Repost, he was aiming to eliminate some distractions for possible artists. They know that many artists are talking about light: they hit the wall as independent musicians and needed help to get the next step. The musicians faced many tasks: optimizing music on every platform; get a suggestion of press tool; find promotional templates; collect checks from SoundCloud, YouTube, etc.

Knowing how to confuse and escort this to an artist, Repost built itself as a one stop shop for everything to do. By removing the distribution and other payment points, the platform also eliminates the burden of managing various infrastructure, accounting practices and more.

“Many people do not know the role of music distributors and record labels,” said Ponchick. “For distributors, we will look as odd, take 30 percent of the artist’s money, but everyone else takes 5 percent, but we’re labeling and marketing services like record labels, without taking ownership of music.” It’s a way to make it OK to keep it independent. musician not to enter the label. It can make $ 20,000 to $ 30,000 per month and keep the property. “

Rapper Opportunities as a well-known independent artist that avoids “clearance” label d

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