Latin America, a growth market for the music streaming industry This expansion is an opportunity for 470 million music fans around the world to have access to an alternative streaming service centered around high quality sound and a unique approach to music. Be a journalist.PARIS-( BUSINESS WIRE)- Qobuz, the high-quality music platform, continues its global expansion with the opening of its service in six new countries: five in Latin America and one in Europe, doubling the number of markets covered in two years. Instead of just reposting another article’s information in a new graph, go talk to people and dig into this. Why aren’t you guys more curious about that? Maybe there’s a point of success where streaming is great. But I have seen very, very few thoughts/numbers on bands that have 50-100k fans on Facebook, or 10M+ streams on Spotify. I’ve seen plenty of struggling acts who are against. I’ve seen many top tier acts that are against it, for it, and indifferent. Therefore, we can see if streaming is truly hurting, helping, or somewhere in between. Is it a part of the discussion that should be included? Sure, to a very small degree, but the bulk of this debate should be using acts that have visibility. If streaming wasn’t the context, you would not care about a band that clearly has a very small fanbase. Streaming is obviously huge issue, and this site should have the clout by now to get hard numbers/opinions from bands that are in the thick of it. Try to understand the discussion and, when you hopefully realize that it is beyond your limited grasp, just stay the hell out of it and quit mucking it up. Otherwise, you would have provided some evidence of that, like originally asked. And certainly not that “plenty of mid-level bands are “shitting” on streaming as well.”
What about real, working-level bands that actually depend on streaming income as another revenue source, to actually make a living (as opposed to just an additional $5m)? You’re quoting mega-stars who can afford to say they don’t like streaming, because they sell 5,000,000 copies, NO MATTER WHAT. What is so hard about your retarded troll brain to understand about that simple question and it’s very basic limitation, asking to discuss…. As he just pointed out to you.Īnd yes, you “cited a bunch of High-level bands SHITTING on streaming.”īut again, the issue is, was, and remains (and I’ll type it out S L O W L Y for you, this time): “ Zoo: you wrote : “But i rarely see a current, solidly mid-level bands shitting on streaming”
But, given that this is a rock band in France, and Pandora is only in the US, Australia, and New Zealand, this may be immaterial for Giant Jack. On Tidal and Xbox Music, we’ve actually received an incredibly detailed breakdown of royalties from both of these platforms across more than a dozen countries, thanks to a specific test conducted by an indie hip-hop label (so stay tuned for that).įor Pandora, that involves both (a) SoundExchange statements for recordings, and (b) publishing royalties from PROs.
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Now for what’s missing: Tidal, Groove Music (Xbox Music), and Pandora, plus subscription services like SoundCloud Go and YouTube Red. Other Details.Īlso, please note that Giant Jack distributes through Wiseband, which is a distributor focused on the European market. Which is, by the way, far lower than Spotify’s reported ‘average’ of about 0.7 cents per stream). That translates into 18/1,000ths of a dollar, which is roughly 2/10ths of a penny (or 0.18 cents) per stream.
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In terms of how to make sense of this, take Spotify, which yields $0.0018 per stream.
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In terms of Google Play, the royalty has a full album purchase as well as 14 streams, so it’s difficult to extract a per-stream rate (though maybe there’s more details).Īssembling all of these from lowest-to-highest per-stream payout, we have the following (in $):
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