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How TikTok’s #StudioChallenge Is Revolutionizing Fan-Generated Content One Video At A Time

A recent trend on TikTok allows users to showcase their favorite artist’s best song, and fans can’t get enough. 

Let me set the scene: You’re scrolling through TikTok when suddenly, a video featuring a lone human walking through a doorway as an unfamiliar song begins to play. They pass through the room, grabbing headphones or other objects, as their friends, family, or coworkers slowly circle them. As soon as the song kicks into high gear, the room goes dark but is quickly illuminated by flashing lights as the protagonist begins performing the song, backed by everyone else in the room. It’s the kind of rowdy moment that previously would’ve happened during a sleepover or late night with friends, but in the digital age, it’s called content, and people love to see it unfold.

The #StudioChallenge, which has been blowing up on the video-sharing app, is centered around people acting as if they’re about to record a song. It is usually started by someone walking into a room, dapping people up, and grabbing the necessary equipment they need to deliver their act.

What makes the #StudioChallenge unique is its format. Unlike most TikTok trends involving dances or other act-outs, this challenge does not rely on a specific song. Users can pick a song that makes them feel the most alive. The content they create is an extension of themselves and their tastes, which makes their commitment to the bit more convincing for viewers. 

Here are a few examples of the challenge in action.

For fans of Paramore:

@theharbinsisters

In the studio wit it 🎶🎤🎸🖤

♬ Decode – Paramore

For fans of Pierce The Veil:

For fans of Rich Homie Quan:

No marketing rep could have developed a more perfect promotional tool than the #StudioChallenge. Labels and artists want fans to use their songs in content. This challenge presents an opportunity to do so while putting the music front and center. For every viewer, one more person is hearing what is—most likely—one of the best moments in that artist’s catalog. That’s the perfect bait to hook a new listener, and it takes virtually no effort to execute.

As TikTok continues to evolve and music marketers place greater emphasis on navigating its vast community, we will likely see more trends with room for variety emerge. The age of song-specific dances and reenactments is slowly giving way to more personalized user-generated content (UGC). 

Why artists need to pay attention

Your fans are on TikTok. Maybe not all of them, but you have a community of followers, and they are likely making content. You can sit idly by, hoping they use your music, or you can encourage them to take action. There are many ways to accomplish this, starting with competitions for the best video, but the key to your success will be engagement, not from outsiders but from you. Listeners want to know you notice them, and they want to interact with you. By engaging your TikTok audience, you encourage them to include you in future creative efforts. 

But encouragement alone is not enough.

Every artist with the bandwidth to experiment on a new social network owes it to themselves and their audience to explore TikTok. 

I’ve yet to see a rock or metal band participate in the #StudioChallenge, but it seems like an easy win. 

Picture a band using the framework of the challenge to tease a new breakdown or highlight one of their biggest hooks. They can keep things simple and follow the blueprint or use their stage production to take the whole affair to an entirely new level. Either way, people will be hooked.

Take a chance on yourself.

It’s easy to understand why people hesitated to make video content three or four years ago. But it’s 2022, and the entire planet is spending free time scrolling through looping videos made by strangers. Everyone is doing it, and you should too!

I know, I know. This sounds like one of those” “if your friends jumped off a bridge” scenarios, but it’s not.

The cultural focus has shifted from still images and written word to video. The artists making waves of any size right now are doing so—at least in some small part—with the aid of video. 

It’s no longer a question of “if” you need video content. You absolutely need it. The only question is, how creative are you?

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Industry News News

This Week In Music (July 22, 2022)

From Springsteen’s ticket prices to a lack of interest in new music, we’ve gathered the biggest music news stories of the week.

July is chugging along, the hot temperature isn’t the only thing heating up. Artists from all walks of life are experiencing a boom of interest thanks to better weather, and professionals are hard at work making the most of the moment. Consider this a reminder to go outside and touch the grass. You deserve to feel the wind in your hair while your favorite songs play at a loud volume. Don’t let the consumer have all the fun.

We cannot ease your workload or give you more hours in the day, but we can help you stay informed. Below you’ll find the biggest stories of the week, all covered by the best outlets in tech and entertainment. Click around, learn what’s happening, and use the weekend to prepare for the end of the month.

But let’s be honest. There is no way we can hope to cover everything that happens. If you see a headline we missed that people need to know, please do not hesitate to send james@haulix.com an email. We’ll include your links in the next update.

The Biggest Music News of the week:

Ticketmaster’s Dynamic Pricing Causes Headaches For Springsteen Fans

Fans buying tickets for Bruce Springsteen’s US arena tour were shocked to find many seats halfway back in each venue selling for $4,000-5,000 and even less desirable seats priced at $1000-$2000.

These were not scalped or resale tickets, but rather primary tickets sold by Live Nation its owned ticketing company Ticketmaster and their new Platinum dynamic pricing system.

“Platinum” tickets, which can be placed by the promoter anywhere in the arena from the front section to the back rows, fluctuate in price much like an airline ticket in reaction to supply and demand.


WMG Sign On To Soundcloud’s Fan-Powered Royalty System

When SoundCloud launched its artist-friendly fan-powered royalty system last year, the model was only available for independent artists subscribed to the streamer’s paid tiers. Now, SoundCloud has inked its first major label partnership with Warner Music Group, whose artists can now earn fan-powered royalties on the platform too.

Since the early 2000s, artists and record labels alike have struggled to figure out how musicians can make a living when it’s so easy to download .mp3s online. New models like music streaming on Spotify can feel like a stop-gap, though, since payouts from these services can be paltry if you’re not Lizzo or Olivia Rodrigo.

Spotify pays artists via a pro-rata model, which means there is a large pot of money that gets divided among all artists depending on how many streams they each get. But that means that the success of superstar musicians can inadvertently take away from the payouts of up-and-coming performers.

The user-centric model, or what SoundCloud calls fan-powered royalties (FPR), is designed to level the playing field for smaller artists.


Pat Benatar Won’t Perform “Hit Me With Your Best Shot” Out of Respect To Shooting Victims

Amid the endless gun violence in the United States, Pat Benatar is taking a stand by choosing not to sing her 1980 hit, “Hit Me With Your Best Shot,” on her current tour.

“We’re not doing ‘Hit Me With Your Best Shot’ and fans are having a heart attack and I’m like, I’m sorry, in deference to the victims of the families of these mass shootings, I’m not singing it,” she said in a new interview with USA Today. “I tell them, if you want to hear the song, go home and listen to it. [The title] is tongue in cheek, but you have to draw the line. I can’t say those words out loud with a smile on my face, I just can’t. I’m not going to go on stage and soap box – I go to my legislators – but that’s my small contribution to protesting. I’m not going to sing it. Tough.”


BMG Acquires Back Catalog of Jean-Michel Jarre

The torrent of catalog acquisitions continues and this time, its BMG who announced it has acquired the entire music publishing back catalogue of pioneering French electronic musician Jean-Michel Jarre.

The deal includes the rights to Jarre’s classic hits such as Oxygene and Equinoxe along with Jarre’s writer’s income stream. The agreement expands upon BMG’s previous acquisition of the sound recordings for Jarre’s first three albums that came as part of their purchase of the indie label Francis Dreyfus Music in 2012.

A towering figure in the French electronic music scene, Jarre has generated 85m album sales over his career and has performed in front of some of the biggest audiences in history, including the Paris Bastille Day concert 1979 (1m people), Houston 1986 (1.3m people), Paris-La Défense 1990 (2.5m people) and Moscow 1997 (3.5m people).

“This partnership with BMG means a lot to me. Hartwig Masuch and the entire team have been part of my family for many years. Moreover, I am pleased that my publishing back catalogue is sheltered here in Europe and that my work will continue to grow in such good hands. Today is a new start allowing me to develop fresh ideas and giving me the means to explore new territories. Together we will thrive,” Jean-Michel Jarre said.


New Music Is Becoming Less Popular, Report Finds

Music Business Worldwide reports on the results of this new mid-year report from Luminate, the market monitor formerly known as MRC Data/Nielsen Music. The report looks at a metric called total album consumption, which takes into account streams, downloads, and digital and physical music sales. According to Luminate, the consumption of new music — defined as anything that came out within the last 18 months — is down 1.4%, or about two million equivalent album-sales, compared to the first six months of 2021. This is during a time when total album consumption went up 9.3%. So it’s not just the market share of new music that’s going down; it’s the actual consumption of the stuff.

By contrast, consumption of catalog music, defined as anything that’s at least 18 months old, doing great; it’s up 14% compared to last year. Thus far in 2022, catalog music accounts for 72.4% of the market, compared to 27.6% for new stuff. Even with hyped-up new releases from big stars like Drake, the Weeknd, and Kendrick Lamar, new records just aren’t making the same kind of cultural impact.

There are a couple of other factors worth considering here. For one thing, a lot of the old music that’s doing well isn’t really that old; more than a third of that catalog consumption is of music that came out between 2017 and 2019. Also, streaming offers us a chance to see what people actually listen to, rather than just what they buy; in the pre-streaming era, these data collectors couldn’t tell if you were just listening to the old records that you already owned. And old music has always been popular; the Beatles’ 1 is still the biggest-selling album of the 21st century. Still, it’s pretty striking that nostalgic consumption is completely overwhelming the hunger for anything new.


Song Of The Week: Slipknot – “The Dying Song”

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The Definitive Social Media Size Guide For Musicians (2022)

The first step to winning fans and building a community on social media is knowing what to post and where to post it. We can help.

I don’t know of any artist making a living today without social media. They may not run it themselves, but every musician must have an online presence. More often than not, most musicians need multiple profiles spread across numerous platforms requiring all types of content in various sizes and shapes.

If you want to make the most of an Instagram account, for example, you need to know the following information:

  • Profile picture size
  • Photo thumbnail sizes for Story highlights
  • Photo and video sizes/aspect ratio for posts to a user’s feed
  • Photo and video sizes/aspect ratio for Instagram stories
  • Video sizes/aspect ratio for Instagram Reels

And that’s before we even discuss effectively marketing through the platform.

Between Facebook, Instagram, Twitter, and TikTok, not to mention YouTube, LinkedIn, Snapchat, Linktree, Tumblr (it still exists), and the platforms we are no doubt forgetting, it’s practically impossible for anyone to remember every size and aspect ratio required to make high-quality posts everywhere an artist is expected to exist online. We know because we’ve tried it ourselves, and we bet you have.

We scoured the internet for the best guides to social media sizing, and to the surprise of nobody, countless examples exist. We tried to find the most straightforward, easy-to-follow options available and gather them here to live in perpetuity.

Facebook

ContentSizeAspect Ratio
Facebook Profile Picture400 x 400 px1:1
Facebook Event Cover Photo1920 x 1005 px1.91:1
Facebook Group Cover Photo1920 x 1005 px1.91:1
Facebook Business Page Cover1200 x 674 px16:9
Facebook Profile Cover Photo1125 x 633 px2.7:1
Facebook Photo Post1200 x 630 px1.91:1
Facebook Video Post1280 x 720 px16:9
Facebook Linked Image1200 x 630 px1.91:1
Facebook Stories1080 x 1920 px9:16
Facebook “Our Story” Cover1200 x 445 px2.7:1
Facebook Ad (Carousel)1080 x 1080 px1:1
Facebook Ad (Single Image)1200 x 628 px1.91:1
Facebook Catalog Image1080 x 10801:1

Instagram:

Type of Instagram PostAspect RatioInstagram Post Size
Square Photo1:11080 x 1080px
Landscape Photo1.91:11080 x 608px
Portrait Photo4:51080 x 1350px
Instagram Stories9:161080 x 1920px
Instagram Reels9:161080 x 1920px
IGTV Cover Photo1:1.55420 x 654px
Instagram Square Video1:11080x1080px
Instagram Landscape Video1.91:11080x608px
Instagram Portrait Video4:51080x1350px

Soundcloud:

GRAPHICSIZE
Profile Photo1000 × 1000 px
Album Cover800 × 800 px
Minimum Header2480 × 520 px

TikTok

TikTok video dimensions should be 1080×1920. Aspect ratio: The aspect ratio should be that of a standard smartphone screen, 9:16. 1:1 is also possible, but it won’t take up the whole screen.


Twitch

GRAPHICSIZE
Profile Photo800 × 800 px
Profile Banner1920 × 480 px
Video Player Banner1920 × 1080 px
Video Thumbnail1280 × 720 px
Cover Image380 × 1200 px
Info Panels320 × 200 px

Twitter

Finding information about Twitter’s content options proves slightly more difficult than options for Facebook and Instagram.

  • Profile Photo: 400×400
  • Header Photo: 1500×500
  • Image from a Tweet with shared link: 1200 x 628 pixels
  • Tweet sharing a single image: 1200 x 675 pixels (recommended, but most images with standard aspect ratios will not be cropped)
  • Tweet sharing two images: 700 x 800 pixels (both images)
  • Tweet sharing three images:
    • Left image: 700 x 800 pixels
    • Right images: 1200 x 686 pixels
  • Tweet sharing four images: 1200 x 600 pixels (per image)
    • Four is the maximum number of images available on one Tweet
  • Recommended aspect ratio is 16:9.
  • Can edit images if tweeting from Twitter iOS or Android app.
  • Maximum file size of 5 MB for photos, and 5 MB for animated GIFs on mobile and 15 MB on web.

YouTube

TYPESIZE
Channel Icon800 × 800 px
Channel Art2560 × 1440 px
Desktop Display2560 × 423 px
Tablet Display1855 × 423 px
Desktop and Mobile Display1546 × 423 px
Video Thumbnail1280 × 720 px

Video Guidelines

  • Recommended dimensions: 426 x 240 (240p), 640 x 360 (360p), 854 x 480 (480p), 1280 x 720 (720p), 1920 x 1080 (1080p), 2560 x 1440 (1440p) and 3840 x 2160 (2160p).
  • Aspect ratio is 16:9 (auto adds pillarboxing if 4:3).
  • Max file size is 128GB or 12 hours, whichever is less.
  • Accepted video formats include: .MOV, .MPEG4, MP4, .AVI, .WMV, .MPEGPS, .FLV, 3GPP, and WebM.
  • Video length max is 12 hours.

YouTube SHORTS video guidelines

  • Recommended dimensions: 240×426 (240p), 360×640 (360p), 480×854 (480p), 720×1280 (720p), 1080×1920 (1080p), 1440×2560 (1440p), and 2160×3840 (2160p),
  • Aspect ratio is 9:16.
  • Video length is 60 seconds max.
  • Accepted video formats include: .MOV, .MPEG4, MP4, .AVI, .WMV, .MPEGPS, .FLV, 3GPP, and WebM.
  • Music from the YouTube music library is limited to 15 seconds.
  • Title character limit: 100 characters max.
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How Sator Found A Unique Niche In Rock

Leaving your mark in music is increasingly difficult, but Sweden’s Sator has been making it look easy for nearly four decades. Today, they share their secrets with Haulix.

Sator has been making music longer than many of our readers have been alive. If that is not impressive enough, the band has done it with friendships and members (mostly) intact. Formed in 1983 under a different name, the group found its footing and changed its identity in 1987. From there, the band remained active in the studio and on the road until today.

Early in their career, the men of Sator knew they needed a hook to help gain widespread attention. The answer came in the form of a covers album, but not in the traditional sense.

Cover songs are a dime a dozen, and they share one big problem: Everyone already knows the song. Finding an element of surprise in most cover songs is impossible. You can make a pop song sound like a rock track and vice versa, but the core elements remain the same.

Sator found the answer in scraps of the artists they love. Rather than recreate well-received songs, the band wrote musicians and asked for permission to record any unreleased material the artist or group might have in their possession. To their surprise, people said yes!

That one decision—to deliver original takes on other people’s unreleased songs—gave Sator something nobody else could offer. It was enough to propel the band onto the international, which they then remained on thanks to their original songwriting.

Nearly thirty years since the release of that first covers album, the band is back with another collection of other people’s songs. We asked Sator to tell us the secret behind gaining access to this material and how they’ve managed to stay relevant for decades, and they were more than happy to respond. Check it out:

Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Start your one-month free trial today and gain instant access to the same promotional tools used by BMG, Concord, Rise Records, Pure Noise Records, and hundreds more. Visit http://haulix.com/signup for details.

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How TikTok Is Changing Music Release Strategies

The popularity of TikTok is leading a revolution in music release strategies that is unlike anything we’ve witnessed in decades. 

Music marketing and release strategies are at the heart of every artist’s career. How and when you release music matters as much as the content itself—sometimes more—and for the better part of twenty years, virtually every album has followed a similar promotional path:

Step One: The artist or group announces the upcoming release of a new song

Step Two: The artist or group teases that release with audio clips, behind-the-scenes footage, and anything else they can develop while sharing Haulix links with journalists and tastemakers.

Step Three: The artist or group asks fans to presave and preorder the unreleased material.

Step Four: The song finally comes out.

Step Five: The artist or group continues promoting the song’s release.

Step Six: The artist or group continues teasing the song with audio clips, behind-the-scenes footage, and anything else they can develop.

Traditional industry thinking tells us that you must promote music before its release because it’s the only way to guarantee strong first-week sales, which often determines how much support a record will receive moving forward. History teaches us that if an artist fails to deliver an impressive launch week, the likelihood their label continues to pump money and attention into their career falls drastically. 

That line of thinking is outdated.

As Bob Dylan said, “The times, they are a-changin'” because a new generation of musicians refuses to follow tradition. Between the boom of TikTok and the rise of the “give it to me now or I don’t want it” culture, artists are choosing a more direct path to release and promotion.

Step One: The artist or group releases a new song.

Step Two: Promotion.

That’s it. 

TikTok is an amazing tool for discovery, connecting users with an endless variety of content creators algorithmically-tailored to their interests. When someone hears a song snippet they enjoy, logic dictates they will head to the creator’s profile, hoping to find their music online. If the user then visits the artist’s page and FAILS to find the song they heard on TikTok, the chances they save the artist and return later are virtually non-existent. In other words, you have one chance to grab someone’s attention, and if you blow it, they [most likely] won’t return.

To avoid this problem, artists are now choosing to skip promoting new material until it’s available worldwide. The risk of losing potential fans because you went viral before the release date is too high for most to gamble, but that’s not the only reason.

The so-called “TikTok Approach” is also a cost-effective promotional solution for cash-strapped independent artists whose marketing budgets often equate to whatever they can spare after paying for living expenses. Rather than waste your money teasing a song or record people cannot yet enjoy, spend your pre-release time creating content you can share immediately following the song’s premiere. Any engagement will lead to immediate streams (AKA money).

And it’s not just independent artists shifting their thinking around releases. Everywhere you look, the time between a song or album announcement and the release date is shrinking. Even Post Malone, arguably one of the world’s biggest musicians, announced his recent 2022 album only six weeks before its initial release. The first single? A surprise release.

What about preorders?

We live in a new world where the pipeline delays of recent years have drastically changed consumer expectations. Delays between digital and physical releases are to be expected. Most fans don’t mind because they view your vinyl, CD, or cassette as memorabilia. Its primary purpose is to be a physical manifestation of their fandom, which they can hold, showcase, and enjoy. Using it for consuming music is, for better or worse, becoming secondary. 

Launch preorders on release day. Launch everything on release day. The same people who would preorder the vinyl three months before release day will still place an order because they want the product regardless. 

Making this one adjustment to your next release strategy will ultimately save time and money. More importantly, it will give anyone interested in your music instant access to it. You want as few barriers between strangers and hearing your music as possible, and in our quickly evolving world, that requires making changes as culture dictates it necessary.

Remember the phrase, “Don’t bore us, get to the chorus”? The same applies to release strategies. Stop fooling around and deliver. Your fans will be thrilled to see new music, and anyone new won’t have to wait around to see if you’re as good as your teasers claim. Everybody wins.


Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Start your one-month free trial today and gain instant access to the same promotional tools used by BMG, Concord, Pure Noise Records, and more. Visit http://haulix.com/signup for details.

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This Week In Music (July 15, 2022)

From the return of Pantera to TikTok’s growing Gen-Z influence, we’re bringing you the biggest music news stories of the week.

Can you believe we are already halfway through July? Not only is the year half over, but so is the seventh month? If you’re feeling like time is flying, you’re not alone. Back-to-school advertising has already started, and dozens of musicians have started promoting fall tours. Before we know it, Christmas music will be on the radio. **Shudders**

Working in music is hard enough. Learning about what is happening in the industry shouldn’t be an uphill battle requiring four websites, two premium memberships, and repeat daily visits to feel like you know what’s happening. You work too hard for that nonsense, so we’ve taken the liberty of scouring the net to find the biggest music news stories in places where learning won’t cost you a dime.

But let’s be honest. There is no way we can hope to cover everything that happens. If you see a headline we missed that people need to know, please do not hesitate to send james@haulix.com an email. We’ll include your links in the next update.

The Biggest Music News Stories Of The Week:

Pantera To Tour In 2023

As reported by BillboardPantera‘s surviving members — Philip Anselmo and Rex Brown — will be hitting the road for a long-speculated reunion tour in 2023. They’ve signed with Artist Group International to book their North American dates, with Dennis Arfa and Peter Pappalardo as the responsible agents.

“We are thrilled to be working with such an iconic band and bringing their music back to the fans,” Pappalardo commented.

Black Label Society bandleader and Ozzy Osbourne sideman Zakk Wylde and Anthrax’s Charlie Benante have been revealed as the guitarist and drummer for the tour.


Spotify Buys Music Trivia Game Heardle

Heardle, a music trivia game that popped up following the massive success of Wordle, has a new owner. Spotify has announced it’s buying the game. Terms of the deal were not disclosed. As The Verge notes, Heardle is Spotify’s first game acquisition.

Heardle is a straightforward game of name that tune. Players are given six attempts to guess a popular song. They hear one second of the intro at first. Heardle lets them hear a little more after each incorrect guess (they can also skip turns). There’s only one song each day for everyone to guess.

Whether or not you correctly identify the song, you can click through to hear the full track after finishing a round. That caught the attention of Spotify, which is pegging Heardle as a music discovery tool. Until now, the game has been using music hosted on Soundcloud.

“We are always looking for innovative and playful ways to enhance music discovery and help artists reach new fans,” Spotify’s global head of music Jeremy Erlich said. “Heardle has proven to be a really fun way to connect millions of fans with songs they know and love and with new songs… and a way to compete with their friends as to who has the best musical knowledge. Since its debut, the game has quickly built a loyal following, and it aligns with our plans to deepen interactivity across the Spotify ecosystem.”


David Bowie Doc ‘Moonage Daydream’ Arrives In September

Neon and Universal Pictures Content Group today announced that Brett Morgen’s David Bowie doc Moonage Daydream will hit theaters globally on September 16 outside of Japan, where it unspools in March of 2023. Neon will distribute the film in the U.S., with UPCG handling international.

The first feature doc on Bowie to have been sanctioned by the artist’s estate, Moonage Daydream will screen on Imax in select territories.


Nearly half of Gen Z is using TikTok and Instagram for search instead of Google, according to Google’s own data

TikTok is coming for more than just its social media competitors. 

Nearly 40% of Gen Z prefers searching on TikTok and Instagram over Google Search and Maps, according to Google’s internal data first reported by TechCrunch

TikTok, which is the fastest-growing social media app, has exploded in popularity over the past few years — so much so that it inspired social media competitors Instagram and Snapchat to roll out copycat video features in Reels and Spotlight

Now, a Google executive has confirmed that TikTok’s format is changing the way young people conduct internet searches, and Google is working to keep up. 

Google senior vice president Prabhakar Raghavan told the Fortune Brainstorm Tech conference that according to Google’s internal studies, “something like almost 40% of young people when they’re looking for a place for lunch, they don’t go to Google Maps or Search, they go to TikTok or Instagram.”

Google confirmed this statistic to Insider, saying, “we face robust competition from an array of sources, including general and specialized search engines, as well as dedicated apps.” 


Song of the week: Fellowship – “Until The Fires Die”

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How Vatican Became The New Face Of Metal

Hot on the heels of their critically-acclaimed new album, Vatican chats with Haulix about their fast rise through the metal underground.

Ask any four metalheads about the state of their favorite genre, and you’ll probably get five distinct answers. Some will tell you that metal has never been more alive, but another will just as quickly say that everyone is ripping off some all-time great. Maybe one will speak of underground European acts with fervent followings who “will never be taken seriously in the states,” while another says EDM crossovers are the future. 

Everyone is right and everyone is wrong. None of it matters. All that ever matters is the music, and lately, one band has taken the global metal scene by storm.

Vatican takes a very literal approach to being the future of metal. Their music knows no bounds, combining elements of practically everything to concoct short bursts of metal goodness that go down smooth. The band’s new album, Ultra, is one of the few 2022 releases seemingly everyone can agree on, and it has quickly launched the band into the international spotlight. Ultra offers the most fun you’ll have listening to metal this year, and today, we find out how it all came together.

Marking our first video in nearly 3 weeks, music biz host James Shotwell returns with a fast five interview featuring Vatican member Michael Sugars. Speaking from the band’s van while on the road, Sugars shares the stories behind Ultra, landing a deal with UNFD, and how the band’s marketing strategy played a role in their current success. Check it out:

Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Start your one-month free trial today and gain instant access to the same promotional tools used by BMG, Concord, Rise Records, Pure Noise Records, and hundreds more. Visit http://haulix.com/signup for details.

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What’s A View?—on Reels, TikTok, YouTube, and More!

What’s in a video view, and how long does it take to earn one? The answer is more complicated than you might expect.

Everywhere you look online, video content is king. Blame the influence of TikTok on culture, but each social platform is now promoting a video feature that—for the time being—offers more views and higher engagement than traditional content.

But what is a view?

Unfortunately for artists and music marketers, A “view” isn’t a standardized unit of measurement. Each platform has a unique set of rules that define how views are counted, and knowing the differences can help you measure the success of your campaigns. For example, a video receiving 100 views on Youtube could hold as much—if not more—value than a video receiving thousands of views elsewhere. The opposite can also be true.

Why does the math behind view counts matter?

Knowing how views are measured provides a greater understanding of how your content is performing on various platforms. If plays are counted instantaneously, like with TikTok or Instagram Reels, you’re likely to have incredibly high view counts regardless of how much engagement (Likes, Comments) you receive. Anyone who even glimpses at your post will be counted as a “viewer,” but how much did they see? Did they even see your name? What, if anything, will they retain?

Receiving 50,000 views on a clip is a cool talking point that sounds good in conversation and looks good buried three paragraphs into a press release, but how many viewers are engaging with that content? Of them, how many followed you?

Understanding the value of a view helps us better gauge the success of our promotional activity. The more we create and share, the better our understanding of what people like and what moves them to take action.

So, what counts as a view?

On TikTok, a view is essentially an impression—meaning, the very millisecond your video starts to play, it’s counted as a view. In addition, the platform also measures repeated views.

Instagram Reels follow the same logic as TikTok. A view is counted the instant a video is viewed. The amount of time watched beyond that initial split-second interaction does not matter.

Over on Facebook, a view is counted after a video autoplays for 3 seconds consecutively. Unlike TikTok and Reels, replays are not counted, so the same viewer watching a video repeatedly will not increase your view count.

Twitter, meanwhile, claims the ‘total video view’ metric is calculated by the sum of “any views which are at least 50 percent in-view for 2 seconds.” That means that to count as a view, at least half of the video has to be visible and playing on a user’s screen for at least two seconds.

Professional networking site LinkedIn counts video views after 3 seconds as well. According to a post from John Espirian, that short wait time “means a quick thumb-scroll past a video isn’t going to count, but if you pause and give the content even brief attention, that will count.

The grandaddy of them all, YouTube, counts a view after 30-seconds of continuous viewing and only when the viewer elects to play the video. Autoplay does not count toward views. YouTube also manually reviews all videos after passing 301 views to ensure the authenticity of viewership.


We will update these numbers are new information becomes available. Follow Haulix on Twitter and Facebook for updates.

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Industry News News

This Week In Music (July 8, 2022)

From Stranger Things’ Metallica moment to Irv Gotti selling his masters, we’ve gathered the week’s biggest music news.

Another wild week of music business is in the books! The last seven days have seen legacy acts brought to the front page of virtually every entertainment publication while other icons sold their masters for big-time bucks. Elsewhere, tech companies continued plotting the industry’s future as crypto bros panicked over the ongoing devastation to the NFT marketplace. It was absolute chaos, but what else would you expect? Nobody gets into this business for a calm and relaxing existence.

Whether you’re toiling away on a new release or helping your favorite artist plot their global takeover, we know how difficult it can be to stay abreast of everything happening in music. We cannot ease your workload or give you more hours in the day, but we can help you stay informed. Below you’ll find the biggest stories of the week, all covered by the best outlets in tech and entertainment. Click around, learn what’s happening, and use the weekend to prepare for the end of the month.

But let’s be honest. There is no way we can hope to cover everything that happens. If you see a headline we missed that people need to know, please do not hesitate to send james@haulix.com an email. We’ll include your links in the next update.

The Biggest Music News Stories Of The Week

Metallica’s ‘Master of Puppets’ earns 400% increase in streams post-‘Stranger Things’

Metallica’s “Master of Puppets” is the latest recipient of the coveted post-“Stranger Things” bump.

According to Billboard, the title track off the metal legends’ 1986 album has seen a 400% increase in streams since it was used in the season four finale of the Netflix sci-fi series.

While that certainly is a major bump, “Master of Puppets” still has a long way to go if it hopes to match the resurgence of Kate Bush’s “Running Up That Hill,” which soared all the way to the top five of the all-genre Billboard Hot 100 after its use in an earlier episode of “Stranger Things” during the fourth season.

Metallica previously commented on the show’s use of “Master of Puppets,” which is heard during a significant scene involving the Dungeons & Dragons-loving character Eddie Munson, sharing that they were “beyond psyched” about the song’s placement.

“We were all stoked to see the final result and when we did, we were totally blown away,” the band said.


Irv Gotti Sells Murder Inc. Master Recordings In Reported $300 Million Deal

Irv Gotti has sold his stake in Murder Inc’s master recordings in a deal worth a reported $300 million.

Irving Lorenzo founded Murder Inc in 1999 following his success at Def Jam Records. The label helped launch the careers of artists like Ja Rule, Ashanti, Charli Baltimore, and many others. The deal sees Irv Gotti sell a “50% ownership stake of his masters, with additional funding for various film and television projects.”

Gotti sold his stake to Olivier Chastan’s acquisition vehicle, Iconoclast. The Los Angeles-based firm entered the music rights acquisition space in February 2022 following the purchase of Robbie Robertson’s music publishing, name, likeness, and recorded music interests.


YouTube Touts Success Of TikTok Rival, Shorts

In data shared exclusively with Bloomberg, the social media site said artists are using Shorts, its TikTok competitor, to rapidly grow their subscribers. In addition to JVKE, others benefiting from the product include singers Madilyn Bailey, Cooper Alan and Emeline, who increased their subscriber counts by 480,000, 290,000 and 150,000, respectively.

“It is a very important opportunity that both the fans and the artists have,” Lyor Cohen, YouTube’s global head of music, said in an interview.

Cohen is excited about the music industry’s opportunity in the short-form space, though he’s also “deeply concerned” some viewers might only watch short-form content without exploring an artist’s deeper, longer-form work, like music videos and interviews. He called short-form videos that don’t link to long-form content “junk food.”

“I think short-form video could help crowdsource and make it easier for kids to find the soundtrack of their youth, but then you have to be prompted, and it has to lead you [to long-form content], so it’s not empty calories, but it leads you to learning and discovering and becoming a fan,” Cohen said.


Crosby, Stills, & Nash Return to Spotify

Crosby, Stills & Nash music can now be streamed on Spotify once again, five months after David CrosbyGraham Nash and Stephen Stills requested their labels remove their recordings in support of Neil Young‘s decision to leave the streaming service.

Their music is available via Spotify as of Saturday (July 2). CSN will donate proceeds from streams to COVID-19 charities for at least a month, a source tells Billboard.

In February, the band members commented, “We support Neil and we agree with him that there is dangerous disinformation being aired on Spotify’s Joe Rogan podcast. While we always value alternate points of view, knowingly spreading disinformation during this global pandemic has deadly consequences. Until real action is taken to show that a concern for humanity must be balanced with commerce, we don’t want our music — or the music we made together — to be on the same platform.”


SONG OF THE WEEK: Parkway Drive – “The Greatest Fear”

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Industry News News

REPORT: 1 In 3 US Listeners Under 40 Discover Music On Twitch

Twitch is making a strategic play to be the future home of music discovery, and a new report suggests the streaming giant is already well on its way.

A new Luminate study says that a third of 13 to 40-year-old listeners in the US discover new music on Twitch. The survey was conducted in Q4 of 2021 among 2,300+ US consumers in the US aged 13-40.

But there’s a catch.

Twitch also sponsored Luminate’s study.

We are not crying foul play or claiming payola is taking place. When a company sponsors a report that finds that the company is performing favorably, we must step back and consider the possibility of outside influence on the final results.

Our friends at Hypebot make the argument clear:

  • While the survey was conducted by a trusted source – Luminate (formerly MRC) provides all the Billboard chart data – it was funded by Twitch.
  • The survey admits to “a particular focus on both Twitch users and those who use Twitch specifically for music or music-related content.”
  • The stated objective of the study was “to quantify the value and influence of Twitch users on the music industry.”

In other words, Twitch paid for someone to find data that presented the company in a positive light, and that person did their job.

You can’t believe everything you read on the internet. For instance, if I told you this blog is the best blog for anyone wanting to work in music, it would make sense to question my motivations. After all, I write the blog, so I have some skin in the game. It benefits me if you believe this is the best blog for music professionals anywhere on Earth. It definitely is that, but it also helps if you believe me. Get it?

Twitch does matter.

The report from Luminate presents a lot of information that helps argue the company’s influence on pop culture.

Music discovery on Twitch

  • 1-in-3 music listeners in the US discover new music through Twitch
  • 54% have discovered new music from streamers actively calling out songs or artists / recommending them in the middle of a live stream
  • Twitch music engagers are eager to discover new and emerging artists via Twitch (62%)

Twitch houses valuable music fans

  • Twitch users spend 21% more time per week listening to music than the average music listener.
  • Twitch users spend 46% more of their hard-earned cash on music (per month) than the average music listener.
  • Twitch users make over 10x more direct-to-artists payments (per month) than the average music listener.

Twitch users are genre-agnostic enthusiasts

  • Hip-Hop/Rap is the #1 genre for Twitch’s music fans (70%)
  • Twitch users are 84% more likely to listen to EDM than the average music listener
  • Twitch users are far more diverse in weekly genre listenership than the average music listener —  Heavy Metal (+61%), Classical (+51%), Jazz (+38%), K-Pop (27%)

Additionally, at any given time of day there are at least 2.5 million people watching streams on Twitch.

“Gaming and music are intrinsically linked, and much of the culture and fan behavior of our gaming community has resonated and found success with our music community,” said new Twitch Head of Music Geetha Mathews. “We are fueling the passion of this leaned-in audience by surfacing a diverse range of creators who are incredibly talented but still under the radar, driving discovery of emerging artists. We aim to help these creators break through the noise by bringing their authentic selves to a massive global user base eager to connect and contribute.”

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