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Streaming music platforms are expensive, consuming server space and electricity. As more people use their services, the bandwidth to serve them grows. Streaming music is less environmentally friendly than selling music on CDs, so the costs of running streaming platforms go up with revenues.

Spotify’s library contains 16,400,000 unheard-of tracks.

As one of the most extensive music streaming services, Spotify’s library currently contains more than 65 million tracks. However, it’s important to note that a good chunk of this filmy porno library still needs to be heard of. The company reports that roughly 20 percent of its tracks have yet to be streamed a single time. This means there are still 16 million unheard-of tracks for listeners.

The service has changed the way many people listen to music. It’s made more music available than ever before. As such, it must continue to find ways to serve artists and fans. The company will need your support and guidance to succeed. Let’s look at some ways that Spotify can benefit fans and artists.

Users can search for their saved music using the “Your Library” tab. They can also sort their saved tracks by Album, Artist, Playlist, or Podcast. You can also filter them using the dropdown menu at the top-right corner. You can even click an item to listen to it. Another helpful feature is the Search icon, which lets you search within your library.

Spotify has also introduced a new feature that lets users organize their music in folders. This feature allows users to manage their playlists into smaller groups based on their favorite artists and albums. This means that users no longer have to trawl through endless playlists.

Another feature that makes Spotify unique is its ability to let users save multiple songs. They can do so by selecting numerous songs from an album or playlist. Furthermore, users can also delete songs they don’t like from their library.

Spotify’s bargaining power is low.

Despite the large market share it enjoys and its large number of subscribers, Spotify’s bargaining power in the streaming music business is limited. Spotify faces increasing competition from Apple Music, whose market share is higher than Spotify’s. As a result, Spotify is trying to maintain a competitive edge over its rival.

The problem is that streaming music services haven’t historically been very profitable. Their operating margins were at most 1% in 2021. In addition, consumers can build and listen to their music catalogs. As a result, the streaming services have limited bargaining power over the major labels.

Competition from Apple and Amazon is also a challenge. Apple, Amazon, and Google prioritize making money from streaming services, which means they don’t care if Spotify is profitable. Instead, Apple and Amazon are more interested in datezone as many users as possible so that they might offer streaming services as part of a bundle instead of a particular product.

Despite the high demand and large subscriber base, the streaming music business is highly competitive. However, despite the competition, Spotify has mastered digital marketing and largely moderated its users’ bargaining power. Meanwhile, rivals are making massive investments to improve their services and increase their market share. Despite this, Spotify has retained its leadership position, and its financial performance has significantly improved over the last few years. This is partly due to an increased user base, brand awareness, and research and development investments. Moreover, the company is also expanding its business into new markets.

The streaming music industry is a relatively new one. Artists have often criticized it for taking away their revenue. However, Spotify is transparent with its royalty payments and is generous with the income that goes towards costs. The company pays higher royalties to artists on paid subscription tiers than free subscribers.

Sponsored events will grow the streaming music business.

Sponsored events offer the chance to interact with a targeted demographic. Aside from visual recognition, this form of sponsorship allows a brand to build affinity with its customers from a grassroots level. Sponsored events are also often subtle and nonintrusive, allowing sponsors to play a role in the event. For example, sponsors can host the after-party or provide additional benefits to attendees.

Sponsored events can also help artists reach a wider audience. For instance, a recent live performance by Sofi Tukker was watched by nearly 17 million people online. These events often have smaller attendance than festivals, yet their reach is significantly higher than everyday events. Sponsored events also allow for more targeted marketing through social media, which can reach potential future ticket buyers.

Organizers can offer different sponsor packages to attract a wider variety of sponsors. Sponsorship packages should range from $50 to $10,000+. For instance, a $50 sponsorship wouldn’t make sense if a sponsor could sponsor the stage. Sponsors should be able to negotiate better deals, giving them the incentive to invest in the event.

Music festivals require a substantial financial investment. Sponsorships are an efficient way to distribute this investment. Sponsorships are crucial for making these events a success. They help make the event possible by providing the cash flow it needs to make the festival a reality. This money will then be used to pay the artists and promote the festival.

Spotify beats Apple Music.

The streaming music business is becoming increasingly competitive. Spotify and Apple Music are two of the most popular streaming services worldwide. Both companies are free to use, which makes them appealing to music lovers. However, Spotify offers a higher number of paid subscribers than Apple does. According to a study conducted by Loup Ventures, Spotify has 182 million paid subscribers, while Apple only has 422 million monthly active users. Other streaming services include YouTube Music, Tencent Music, and Amazon Music.

Despite their respective market share, both services have unique advantages. For one, Spotify has more paying subscribers and a more comprehensive erodate catalog than Apple. It also has an exclusive rights deal with Drake and Taylor Swift. On the other hand, Apple Music has only 30 million paying subscribers. On the other hand, Spotify relies on ad revenue, which could become crucial to the company’s future.

Although both services feature similar search features, Spotify uses a more sophisticated algorithm to recommend songs based on user input, genre, musical elements, and time of day. Meanwhile, Apple Music’s recommendation system relies on a simpler algorithm, which analyzes the listening history and song ratings.

However, humans still play a vital role in the process.

Apple Music is limited to Apple devices, while Spotify has a broader range of apps for iOS. However, Spotify’s features are more convenient and user-friendly. Its social media integration is also a strong point. For instance, Spotify’s social media integration allows users to see what their friends are listening to, while Apple’s integration is more limited. It also offers more incredible third-party integrations than Apple Music.

Spotify’s interface is cleaner, and its playlist management is easier to navigate. It’s also free for non-subscribers, and a human-curated playlist allows users to discover new songs. Apple’s streaming music service also has a more extensive catalog, exclusive releases, and curated radio. So despite being a bit more expensive than Spotify, Apple’s streaming music service has a lot of advantages.

Spotify’s revenue is not profitable.

Spotify has faced much criticism lately, including questions about its royalty rates. Still, the company maintains that its business model is based on giving artists a fair share of its revenue. Spotify says that 70% of its revenue goes directly to artists and record labels. The company also pays out royalties to rights holders. However, the business model of streaming music could be more lucrative, which has fueled some musicians’ discontent.

Spotify’s revenue comes from its advertising and paid subscription services. It pays to record royalties to music labels and artists and composition royalties to song owners. Additionally, it pays employees’ salaries, partners, and other overhead costs. It also splits its revenue from advertisements with its customers. This allows Spotify to offer the same service to free and paid users.

However, Spotify’s revenue from subscription services is much higher than that of its ad-supported models. This is because subscription services generate approximately three times more revenue than ad-supported streaming. But, it is essential to note that only one-fourth of Spotify’s active users are paid, subscribers. This means streaming services need to find other revenue streams or find more ways to convert free users to paying subscribers.

Spotify has significantly contributed to the music industry as an audio streaming service.

The company has attracted millions of subscribers to pay for music, dramatically reducing the amount of music piracy. Moreover, the company offers a great user experience across devices. It also provides playlist-creation tools and personalized recommendations. It is available in over one hundred countries and has over three81 million monthly active users.

While the music industry has broadly welcomed Spotify’s success, its revenue model has also received considerable criticism. As a result, the company has shifted its business model from a royalty model to a freemium model in which the revenues generated are shared with different levels of the value chain. In contrast, music companies have been accustomed to a royalty model that pays them a fixed sum of money each time their music is streamed.

It’s the 21st century and computers are taking over almost everything, as
they can make decisions and do things much faster than people. Of course,
music industry is not the exception, as people have been using technology
to express their musical ideas, tell stories and transmit emotions in
meaningful ways for decades. Many of today’s popular artists use
computers to record, produce and create compositions. Because of this, we
have all had an encounter with electronic music at some point, we’ve
enjoyed it at a party and some of us even listen to it on a regular basis,
whether it is to help us concentrate or be more energetic.

The beginnings of Electronic Music

Computer music and electronic music are not as young as we may think,
although the concept of it brings an idea of high and sophisticated
technology to mind.

The genre holds a deep and rich history through time, having its roots at the
middle of the 18th century, with electro-acoustic instrumentation, more
precisely the Denis d’or, which was a one-off keyboard instrument
developed in 1753 that had the ability to imitate the sounds of wind and
string instruments, and the Clavecin électrique, an instrument built in 1759
that used electricity to create musical sound aided by a static electrical
charge to vibrate metal bells. These instruments were constructed almost a
century before the phonautograph, the earliest known device for sound
recording, that, at the same time, ​was invented 20 years before Thomas
Edison invented the phonograph. The phonautograph recorded sound and
made sound waves visible on paper. Before that, sound had been invisible and temporary since the beginning of time.

Shortly afterward the phonograph, the idea of the phonautograph was adapted into a disc music player and the gramophone was born in 1887, along with vinyl records, which were a huge uproar in the early 19th century. The record was a disk, about twice the size of what we know today as a CD, and it would be placed on top of the gramophone. Then, a needle would be placed on top of it and move across the disk, creating sound vibrations that were amplified through a speaker.

Later, in 1930, the turntable was developed.

Turntables through time

The turntable has taken music into a whole new journey full of ups and
downs for over the last 60 years; it has been used as a musical instrument
since the 1940s and 1950s, when experimental composers began sampling
and creating music entirely produced by this device, allowing a new genre of
sound, artistic skill and culture emerge in the music history.

Nevertheless, its success was not that evident at the beginning, but it made
a huge progress in the 1970s. The emergence of a new music genre, hip hop,
allowed the use of turntables to become a modern art. People called ‘Disk
Jockeys’, also referred to as ‘DJs’ or turntablists, were performers and
musical artists who used the turntables to play multiple songs at parties and
concerts, manipulating the sound and creating original compositions.

For many hip hop connoisseurs, DJs Kool Herc, Grandmaster Flash and
Afrika Bambaataa are the ​predecessor​s of turntablism. Through practice
they ​acquire​d an ​astounding ability to find precise points in a song by
dropping the needle on a record and developed extremely high levels of
hand eye coordination.

Kool Herc is widely recognised for developing the ‘break-beat’, a technique
that extends the song’s climax indefinitely. Inspired by Herc, Bambaataa
expanded awareness of break-beat deejaying through his famous street
parties. Then, it was the Grand Wizard Theodore, an ​apprentice of
Grandmaster Flash, who created ‘scratching’, the sound made when the
record is rubbed back and forth.

Early DJs used scratches and break bats to go along rap and hip hop lyrics.
However, it wasn’t until the 1990s that the term ‘turntablism’ became a
concept, an event that marked a significant evolution in the role of the disk
jockey (DJ), which had been evolving for two decades.

During the 1990s, DJs began to manifest what they could really create as
artists and a range of new scratches were born, inventing more
sophisticated turntable techniques. DJs Spinbad, Cash Money and Jazzy Jeff
transformed turntablism by inventing the ‘Transformer scratch’. After that
came the Beat Juggling, which is perhaps the most important development
of the decade in terms of turntablism and electronic music, as it effectively
evolved manipulating and reinventing existing tracks to composing music.

The Art of Turntablism

Turntablism is described today as the art of manipulating and modifying an
original reproduced audio source, in order to create new music, sound
effects, mixes and other sounds and beats, using as the main musical
instrument the dish or turntable. This instrument is completed mainly with
the use of vinyl records and crossfader equipped DJ mixers, computers,
control interfaces, effect units, and other similar implements​.

In terms of DJ culture, turntablism is said to express and represent
creativity at its maximum splendor, since turntablists manage to not only
keep record samples in endless loops, but also to move the records with
their hand to cue the stylus to exact points on them, and touch or move the
platter to stop, slow down, speed up, spin backwards, or move back and
forth (also known as the “scratching” effect, a key part of hip hop music),
all while mixing, shifting and manipulating the sounds to suit the mood and
obtain the reaction they are looking for.

Still today, turntables and vinyl records are the basic equipment of DJs in
clubs and music festivals. It owes its popularity and probably salvation
mainly to hip hop culture, being ​one of the longest lasting technologies still
popular nowadays. No matter how many technologies attempt to replace it,
like the cassette tape, then the CD, then the MP3, DJs are still playing with
their vinyl tracks on their turntables, as records bring a particular type of
atmosphere which people find pleasing​.
A large number of turntablists around the world keep innovating to
establish their own signature styles, with artists rediscovering themselves
to be the fastest, most creative players of their instrument.
Turntablism continues to evolve, and electronic music is still considered
one of the achievements of the twentieth century in music history, as using
electronic media contributed tremendously to develop the possibilities of
making new, creative music and affected musical evolution in many
different ways.

If you enjoy the melody and simplicity of Indie Pop and the sonic
experimentation of Electronic sounds, here are some Indietronic groups
worth checking out, all of them sharing their roots from France, a country
very well known for their great, deep-rooted culture of local music, but also
for having great French pop artists and DJ’s who are recognized outside
their country’s borders.

Teenage Bad Girl

The Parisian electronic band, supported and playlisted since the beginning
of their short career by electronic music influencers such as Mylo, Chloé
Thévenin, Justice, Yuksek, and many others, consists of Guillaume Manbell
and Greg Kazubski. They mix beats and vocals connecting house and
electronic genres, employing the aggressive analogue synth lines and
percussions they have remained a staple of the French electro wave for,
although with a low profile.
Interestingly they have a unusual background story, as both members met
on Soulseek, the famous file-sharing network mostly used to exchange
music; they both shared a strong interest for punk rock and electronic
sounds. “We both played in punk-rock bands with friends, making music
when we should have been studying.” says Manbell.
It is said by the passionates about electronic music that they are a genetic
mix of Daft Punk, Aphex Twin & The Stooges. Their latest album, Backwash,
was released back in 2011, and it is the result of a project “more based on
ideas”, in words of the duo.

Birdy Nam Nam

French quartet Birdy Nam Nam h​as ​implemented mixtures of different
genres since the beginning of the band; they make content entirely out of
their turntables and have presented a mix of jazz, funk, and downtempo
sound. In addition, they often experiment with hip-hop bases and plenty of
electronic elements.
For that reason, it would be difficult to catalog them within a single genre,
but their style can ​essentially be defined as Indie, Electronics, French
Indietronica, Filter House and Turntablism.
Since their formation in 2001 their goal has always been to prove that the
possibilities the turntable can offer as a real musical instrument to create
new rhythms are unlimited. They have won several awards during their
career, such as the 2002 DMC World DJ Team Championship before and the
Electronic or Dance revelation of the year at Victoires de la Musique, an
annual French award ceremony that recognizes the best musical artists.
Dance or Die is the name of their last album, released in 2016, which shows
a noticeable evolution in their tracks. Their style of turntablism combined
with abstract hip-hop that was one remarkable is a little less present on this
album, as heavy motorized electro beats designed for performing live take
over to keep the crowd out of their seats and dancing.

Acid Arab

Formed by Guido Minisky and Hervé Carvalho in 2012, and later on
expanded while creating their debut album ‘Musique de France’ to include
Pierrot Casanova and Nicolas Borne, Acid Arab is influenced by a set of
Eastern sounds and
Arabic melodies, which offer a wide range of
percussions, strings and melodic instruments, embraced by the genres of
house and techno. In their own words, the project first started “as a concept,
then a Facebook group, then a party, then (almost) a genre, then it was us.”
After their first album, that features some guest vocalists and
instrumentalists, including Rizan Said, Jawad El Garrouge and keyboard
player Kenzi Bourras (who was at first their keyboardist for live sets and
then fully incorporated into the band), Acid Arab have been performing at
over 260 shows clubs and festivals worldwide.

The Piroeuttes

Starting from a very techno-pop base of the 80s and embracing the sounds
of late ’70s synth-pop, as well as elements of retro wave, R&B and hip hop
genres, the duo is enjoying increasing popularity around the world since the
release of their first album.
The Pirouettes consists of Leo Bear Creek and Vickie Chérie, a couple from
Annecy in France. They were formed in 2011 and have released 2 EPs and 2
full length albums, their latest one being “Monopolis” from 2018.
They are really independents as they manage to get everything related to
marketing, promotion and distribution done by themselves: they have their
own label, and Vickie is the one in charge of the whole visual aspect of the
band, including covers, the graphic design of the albums and some of the
music videos.

“Basically, our style is based on the French variety of the 70s and 80s. Our
first EPs were more referenced, and they had a strong 80’s sound. Today, I
believe (I hope) that we have really achieved the modern sound that is our
own: the sound of The Pirouettes”, Leo stated during an interview with
France.fr.

Camp Claude

Three visionary minds, four countries, and one common desire to reinvent
and inspire through unique sounds.
Camp Claude was born in 2013 in Paris, with American-French Diane
Sagnier at the microphone, and the work of talented composers, the
Englishman Mike Giffts and the Swede Léo Hellden, both members of the
group Tristesse contemporaine.
They usually define their style as ‘Sky Wave’, a middle point between a
creative fusion of rock and pop, and electronic music. Their melodies have
definitely a touch of fineness and nostalgia, a delicate mix of sounds and
sensations that awakens serenity with the combination of smooth rhythms
and vocals.

C2C

The four men behind C2C (also known as Coups2Cross) are as well members
of the ​scratch music​ movement, ​turntablism​. The crew was born in 1998 in
the city of ​Nantes​, with Atom and pFeL from Beat Torrent and ​20Syl​ and
Greem from ​Hocus Pocus​.
Each member of the group uses his turntable as an instrument in order to
recreate percussions, bass guitars, or simulating trumpets and similar brass
instruments.

In 2013, C2C’s album ‘Tetra’ obtained four trophies out of four nominations
during the annual French award ceremony Victoires de la Musique,
including ‘Best New Artist’, ‘Best Music Video’, and ‘Best Live Show’. They
are also winners of the 2013 ​European Border Breakers Awards​, which
recognises the success of emerging European artists who get to reach
audiences out of their own countries​.