Spotify is taking charge on those who still use ad blockers on their service. Ad blockers have been an ongoing problem and only now has the company found a way to take control. Whether it’s on YouTube, Spotify, or any other streaming service, ads bring in crucial revenue to the creator and streaming service. They may save you from listening to annoying advertisements but if you continuing using them on Spotify, you may soon find your account suspended or even terminated.
“circumventing or blocking advertisements in the Spotify Service, or creating or distributing tools designed to block advertisements in the Spotify Service is not permitted”
In Spotify’s new Terms of Service Policy you may have seen and accepted in your emails recently, the music streaming company has made it clear they are done with users using ad blockers. Now, (if you accepted the new terms), they have the authority to suspend or shut down your account if you’re using or creating any type of ad blocking service. Our only question, is how can they tell which accounts are truly violating the service?
Basically, everyone has until March 1st, when the new Terms of Service take effect to remove any programs that are in violation. In early 2018, Spotify stated that at least 2 million people that use their free-version service, used ad blockers. This can severely damage their profits and most importantly, hurt artists. We’re not sure how many users today still use ad blockers but it should be clear now that paying the monthly fee is the way to go.
The post Spotify Will Now Suspend or Terminate Users Who Use Ad Blockers appeared first on EDMTunes.
***READ MORE HERE: Spotify Will Now Suspend or Terminate Users Who Use Ad Blockers
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By Real EDM — 7 months ago
Spotify makes crucial progress towards their goal of enabling one million artists to live off their music.
In March of 2018, Spotify CEO Daniel Ek stated, “Our mission is to enable one million artists to live off their work.”
Ek also noted that over 20,000 artists on Spotify were currently amongst what he referred to as the “top tier” of revenue generation.
With over three million artists on Spotify, this high-earning bracket equates to less than 1% of all artists on the service. That said, Ek’s aspiration of ensuring more musicians earn a living on Spotify appears to be taking shape.
To better understand what is taking place in the world of music streaming, take a look at this graph from BuzzAngle’s newly-issued 2018 industry report:
There are a few key things to notice here, some of which appear troubling at first, but all of which ultimately amount to significant progress in the ability of independent artists to make a living from streaming music royalties. The first thing worth noting, and certainly the most concerning at face-value, is that the top 500,000 tracks on audio streaming services amount to 92.4% of all plays in the 2018 calendar year.
While this is initially disheartening, it’s important to notice that the total number of U.S.-based streams for those top 500,000 tracks increased sharply by a whopping 41.8%, a massive jump in terms of overall streaming revenue generated for rights holders.
Furthermore, in 2017, the remainder of music on the platform (music outside the top 500,000 tracks) made up only 6.4% of the total market share, whereas that same remainder made up over 7.6% of the total market share in 2018.
While this may seem like a very minute increase, a rise of 1.2% market share totaling 36 billion additional streams is no laughing matter, not to mention the fact that this same pattern is mirrored even more drastically across all of the higher-earning revenue tiers (Top 500, Top 5,000, etc.).
What these numbers mean for artists is that the remaining (tracks performing below the top 500,000) were streamed approximately 24 billion times in 2017, increasing to over 40 billion U.S.-based streams in 2018.
Another key metric is that in 2017, the United States’ top 500,000 tracks generated 14.6 times as many audio streams as every other piece of music on the platform. In 2018, however, this multiple decreased significantly to only 12.2x.
While one year of data is certainly no sure indication of change, it does reveal a striking trend that should be a source of great hope for independent artists and labels everywhere.
“My ambition is we want artists to be able to afford to create the music they want to create, and if it takes them five years to sit down and make the album they want to make, they should be able to afford that,” said Ek. “*That’s my goal.”
These numbers hint at an even more important trend – one which, as we climb further towards the top of the blockbuster hit charts, becomes surprisingly more pronounced, especially as you follow it towards the top of the charts, or into the “Top 50 Tracks” bracket. BuzzAngle reports that the top 50 tracks in 2017 generated 14.7 billion streams, making up 3.9% of the total streams on the platform. In 2018 this number dropped off massively with the top 50 tracks claiming just 0.7% of the market share, or only 3.74 billion plays.
This top bracket of earners is where the biggest change is taking place, and as they say, change starts from the top. While on-demand audio streaming volume grew by over 41% in 2018, the percentage of those plays dedicated to the top 50 tracks dropped by a staggering 74.6% – this is assuredly indicative of a noteworthy collapse in the industry-dominating power of major label mega hits.
When you look at the numbers from this perspective, you’ll notice that almost the entirety of the significant growth in US-based audio streams from 2017 to 2018 came from outside the top 500 tracks (and there are far less than 500 mega-hits per year). In layman’s terms, this means that the vast majority of year-over-year growth came not from major artists, but from creators well-below the top tiers of hitmakers.
To put this into perspective, only 9 songs in 2018 were streamed more than 500 million times, compared to 16 in 2017.
From this data, BuzzAngle concludes that “Consumers are exercising their choice to explore new music, which is a terrific sign for the industry.”
It’s undeniable that major labels have attempted to replicate their nearly century-long dominance over terrestrial radio, but it’s proven to be all but impossible to achieve comparable results. The internet simply isn’t conducive to the type of captive audience once offered by radio, and now that consumers are used to having the power of choice, we may have passed the point of no return.
H/T – Music Business Worldwide
***READ MORE HERE: Spotify CEO: Streaming Less Dominated by Major Hit Records
Source: edm.comPost Views: 0
By Real EDM — 6 months ago
Some musical trends come and go, while others stand the test of time. The Electronic Dance Music (EDM) scene falls firmly into the latter category – with new sub-genres being introduced all the time, plus sell-out concerts and festivals.
This is more than true in Las Vegas, America’s gambling mecca. EDM is a particular favorite here, with DJs Calvin Harris, Diplo and Skrillex all with residents at high-profile nightclubs. Vegas has always attracted the biggest musicians – and where the likes of Sinatra performed in the past, Tiesto is performing today. The soundtrack of the city has upped its pace.
Perhaps it’s the slightly decadent nature of EDM is in keeping with the bright lights and casino scene in this part of Nevada, or perhaps its 4/4 soundtrack is more than appropriate for the pulsating heartbeats and drama unfolding in the city’s casinos. Whatever the reason might be, the EDM scene is set to stay.
There are conflicting arguments as to who invented EDM. We can certain track the genre back to the mid-70s iconic disco tune ‘I Feel Love’ which was recorded by Diana Ross with more than a little help from synth wizard Giorgio Moroder. Dance and the electro sound seemed to be perfect partners but the decade would end in a more sombre fashion.
The late 1970s was a boom period for the electro genre with acts such as Tubeway Army, the Human League and John Foxx starting to dominate the charts. In turn, newcomers including Depeche Mode began to take over – this is the point where EDM music started to head into the clubs.
Many of the big name DJs employed electronic music as part of their act and in the modern day, we now have the big EDM artists who dominate that Las Vegas scene. The industrial edge to the music gave way and, as Summer and Moroder had intended, the dance element began to take over.
Utopia took full advantage of the global craze for EDM when it opened 1996. Boasting pyrotechnics and a booming soundsystem, it attracted superstar DJs such as Fatboy Slim and Carl Cox. It later closed and reopened as Empire Ballroom in 2008, when a new generation of house and trance DJs swept in to set dancefloors alight.
The best EDM acts in Vegas
EDM fans will naturally have their own opinions when it comes to naming the best acts around today – but there is much love for one artist who we sadly lost in 2018. Avicii passed away in April of that year but his work lives on and continues to be shared in Las Vegas and beyond.
Of those who continue Avicii’s legacy, Tiesto is perhaps the most well known. As he approaches his 50th year, the Dutch artist features highly on most lists of top electro acts. Tiesto has received numerous honours throughout his momentous career – and continues to hold a residency at the MGM Grand.
Also highly rated is Martin Garrix – another Dutchman who, this time, is just starting out with his career. Garrix has been spinning tracks in Vegas’s hottest nightclub: OMNIA.
Among those entertaining the EDM faithful in Las Vegas on the event calendar in 2019 are Drake, DJ Mustard, Lil Jon and Rick Ross.
Knock-on effect: how Vegas benefits from EDM popularity
While EDM continues to hold great interest across Las Vegas, its rise provides benefits not only for the clubs hosting the best DJs – but for Sin City in general. The host venues such as Tao at the Venetian and Hakkasan at MGM Grand have particular reasons to be grateful as they are full to capacity whenever the bests acts head to town. After all, these venues are able to attract more footfall into their casinos – and increase the number of gamers playing at their tables.
OMNIA is based at Caesars Palace is among the many casinos in Las Vegas to stage EDM nights. At the start of 2019, they were looking forward to the arrival of the mysterious Zedd – a superstar of the EDM genre – who is a versatile performer known for producing and songwriting as well as his successful DJing career.
Wynn Casino and the Mandalay Bay resort are other popular destinations and nights such as these provide a perfect opportunity to combine a great evening of EDM with a spin of the roulette wheel or a hand at the card tables.
And of course, anyone who visits Vegas to attend an EDM is of course going to visit the local restaurants, shopping malls and hotels – providing an all-round benefit for the city.
Clubs and casinos: living in harmony
Last year, Vegas received 42 million visitors. However, with casino revenue on the decline, this suggests that tourists are coming to the city for other reasons than just to gamble.
Another reason for the fall in revenue is the well-documented rise of online casinos, which are flourishing across much of the Western world. Convenient, accessible and more engaging than ever before, more and more gamblers are going online to play their favourite casino games. In fact, the online gambling market is predicted to be worth just shy of $60 billion this year.
Some online operators have gone a step further in a bid to attract players. One leading online casino, for example, has themed its whole brand around the glory days of Las Vegas, complete with a Wurtlitzer soundtrack and chequered flooring. This, along with its range of exciting and immersive online casino games, are hugely tempting for any gambler wanting to have a flutter without catching a bus, train or plane to Vegas itself.
In this era of unprecedented competition – not just from online but from Macau in Asia – Vegas’s land-based casinos are reaching out to EDM and other entertainment options to plug the gaps in casino revenue.
In the same way that Nashville dictates the country music scene, Las Vegas is now acknowledged in many circles as the centre for EDM. It’s a welcome addition to the area for local businesses too and while the venues can attract the top talent and pay the highest prices, the scene is set to thrive over the next few years and beyond.
Whether the turntables or the roulette wheel is spinning the most, both clubs and casinos are working hard to keep Vegas’s glamour alive.
***READ MORE HERE: Las Vegas and The EDM Scene
Source: edmtunes.comPost Views: 0
By Real EDM — 6 months ago
Ok, deep breath. And, exhale. Without a doubt, A State of Trance 900 was one for the books. In fact, the annual Utrecht show is always one for the books. This year’s edition had some incredible story lines.
Perhaps the biggest story line was the debut of “Show Me Love”. Armin van Buuren treated the crowd, and millions of listeners worldwide, to a collaboration with Above and Beyond. Of course, we can’t forget the epic debut of the DJ collaboration, FUTURECODE, from Ben Gold and Omnia.
Now that the dust has settled, it’s time to round up the sets from ASOT 900. Below you’ll find the cant-miss sets from the show. From Armin’s three diverse and incredible sets, to David Asprey’s euphoric ‘Who’s Afraid of 138?!?!’ and more, this year’s ASOT celebration was nothing short of mesmerizing.
Make sure to check out our selection of top sets below. Let us know what you think and happy listening Trance Family.
***READ MORE HERE: Round Up – ASOT 900 Livesets
Source: edmtunes.comPost Views: 0