Archive pour le mot-clef ‘future of music’

It’s Official! MXP4’s Mark Ronson Interactive Music Advertising App is a “Brilliant” Success!

“Sweet!” “Fun!” “Awesome ♥” “Wicked app!” We at MXP4 are incredibly proud that these are all real comments from real fans about our interactive music advertising campaign for superstar DJ and producer Mark Ronson’s latest recording. Thanks to social media monitoring company Wavemetrix (who described the app as a “Brilliant Idea”) we can share some [...]

“Sweet!”

“Fun!”
“Awesome

“Wicked app!”

We at MXP4 are incredibly proud that these are all real comments from real fans about our interactive music advertising campaign for superstar DJ and producer Mark Ronson’s latest recording. Thanks to social media monitoring company Wavemetrix (who described the app as a “Brilliant Idea”) we can share some analysis that shows the campaign was an absolute success.

The campaign, run in partnership with Spotify and Sony music, invited Spotify users to play with and mix three Ronson tracks – Bang Bang Bang, The Bike Song and Somebody To Love Me. The Wavemetrix data shows that, by adding a game-like interface where users can play with music, we were able to engage fans and get them even more excited about the new record.

And what’s really evidence of how MXP4’s music gaming apps can be used to create advertising that’s as compelling as content is the amazingly positive buzz that our interactive ad received. Fans who left comments loved it, and 54% went so far as to say they may buy the record.

ronson data positive buzz

ronson_pie21


MXP4’s social music gaming apps are a great leap forward from traditional audio and banner advertising. Sony Music UK new-services account manager Louise Gitlin told Billboard Magazine the ad generated an “absolutely phenomenal response and click-through rate” adding that it allowed them to add something cooler to what can be a “boring advertising format.” As this campaign proves, bands, brands and advertisers can leverage the increased engagement offered by such an immersive, game-like experience to increase engagement, viral distribution and even sales.

[Additional thanks to Warp Records]

What’s the best music business model? You might be playing it every day

Have you bought a video game recently? Have you ever made an in-game purchase? Do you consider pre-roll, banner or in-game advertising acceptable? Do you think buying video games online or on a mobile device is normal? Has the video game industry turned social networking into a revenue generator through multiplayer gaming? Every day, I’m [...]

Have you bought a video game recently? Have you ever made an in-game purchase? Do you consider pre-roll, banner or in-game advertising acceptable? Do you think buying video games online or on a mobile device is normal? Has the video game industry turned social networking into a revenue generator through multiplayer gaming?
Every day, I’m meeting people who could answer “yes” to all these questions – which raised a very important question in my own mind: if we replace the word “game” with “music,” why aren’t these answers still “yes?”

The music industry has a lot to learn from the video game industry. We’ve finally gotten past the “save the CD” era, but the music industry is still lagging when it comes to proactively developing new business models. Just as the video game industry has continually adapted and reinvented itself in the last few decades – arcades to consoles to mobile to online to apps to ad-supported and so on – the music industry must learn to quickly spot new consumer trends and behaviors, and then adapt the technology and business models to turn those trends into new revenue streams.
When discussing business models today, there are several critical consumer trends that should not be overlooked by the music industry:

  • Consumers like to be social while they are entertained. This was always true to a degree, but now even the solo-music device (the portable player) has been flipped to become the most social device (thank you, iPhone apps).
  • Consumers expect to personalize everything. We always saw it in mix tapes and remixes, but that was the domain of hardcore music lovers. Now, personalization is just an expected standard feature.
  • Consumers don’t simply want to socialize, they want to compete. Socializing isn’t simply about talking to each other and sharing, it’s about showing who is king of the hill.

Our challenge as an industry to turn these trends into revenue streams, not by simply marketing music downloads but by creating new categories of products that fit how people listen, use, create, socialize, share and, yes, listen to music.

Built-in Remixing and Mashups set to be the “3D” Breakthrough for the Music Industry

Throughout history, the “status quo” in the entertainment industry has been repeatedly challenged by the need for re-invention. Technology and consumer tastes force a constant need to innovate and create new business opportunities. Witness video games turning to multiplayer gaming and then motion sensors or movies and TV turning to 3D for new growth opportunities. [...]

Throughout history, the “status quo” in the entertainment industry has been repeatedly challenged by the need for re-invention. Technology and consumer tastes force a constant need to innovate and create new business opportunities. Witness video games turning to multiplayer gaming and then motion sensors or movies and TV turning to 3D for new growth opportunities.

A perfect example can be seen in the video game industry. Over the past 10 years, we’ve seen incredible advancements in game technology, with developments such as the Wii and World of Warcraft creating an entirely new user experience and stimulating increasing demand. The innovations don’t stop with games, either. Instead, the new developments in video games push other popular technologies including mobile phones, PDAs, computers and TV to become more versatile and powerful.

The movie industry is another example of industry undergoing a state of dramatic change. With the constant piracy threat, not to mention the ever-decreasing time span from big screen to DVD release, the industry was in need of something new that would bring audiences back to the theater. Enter Avatar, with its 3D/IMAX user experience, now the record-holder for highest grossing movie ever.

It’s no secret that the music industry has been in need of a shot in the arm – its own 3D, if you will – and we believe that interactive music is exactly the seismic shift in user experience needed.

Our MXP4 Everywhere strategy is designed to bring this to fruition by make it easy to build MXP4’s interactive music capabilities into the broadest possible range of third party services, apps and software and music formats. Wherever you listen to music, you should also be able to play with it.
NEXT POST – The Expansion of MXP4 Everywhere


MXP4 Digital Music Album iPad Demo
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TABLE RONDE INNOVATION ET MUSIQUE : CRÉATION DU GROUPE MUSIQUE DE CAP DIGITAL

TABLE RONDE INNOVATION ET MUSIQUE : CRÉATION DU GROUPE MUSIQUE DE CAP DIGITAL 24 entreprises, groupements et laboratoires de recherche s’associent pour créer la première entité dédiée à l’innovation dans le secteur de la musique. Dans le cadre de l’écosystème du pôle de compétitivité Cap Digital, l’objectif du Groupe musique sera de rassembler les acteurs de la [...]

cap-digital

TABLE RONDE INNOVATION ET MUSIQUE : CRÉATION DU GROUPE MUSIQUE DE CAP DIGITAL

24 entreprises, groupements et laboratoires de recherche s’associent pour créer la première entité dédiée à l’innovation dans le secteur de la musique. Dans le cadre de l’écosystème du pôle de compétitivité Cap Digital, l’objectif du Groupe musique sera de rassembler les acteurs de la musique, ainsi que créer et de faire financer des projets innovants.

Il est temps de passer outre le discours traditionnel qui oppose abusivement culture et technologie. De nombreuses

entreprises et chercheurs travaillent depuis longtemps à des évolutions qui transforment l’environnement et les

modèles économiques du secteur de la musique. En 2010, les membres de Cap Digital dont les activités sont liées à

la musique se regroupent pour promouvoir l’innovation technologique comme un vecteur de création de valeur

pour le secteur: Advestigo, AF83, Arkamys, Audionamix, Awdio, Baracoda, Bearteach, BureauExport, Fair Play

Interactive, Getsound, INA, Ircam, IRI, Lyra Media (Qobuz et Abeille), Musicovery, MXP4, MyMajorCompany,

Naive, Noomiz, ParisMix, Sony France, Ulike, Vocally, Voxler.


Dans le cadre de la communauté Culture, Media, Presse de Cap Digital, le Groupe musique est ouvert à de nouveaux

membres. Il vise à fédérer l’écosystème des startups de la musique, à organiser et financer des projets innovants en

partenariats avec d’autres entreprises ou avec des artistes, à réfléchir ensemble à la façon de réunifier l’innovation

et les acteurs de la musique. Il participera au groupe de réflexion sur le futur de la musique de Think Digital, le

think tank de Cap Digital. Après le succès des différents appels à projets innovants passés en 2009, Il aura vocation à

structurer les réponses aux différents appels à projet publics sur ces sujets.


Plusieurs problématiques seront abordées : les évolutions du e-marketing dans la musique, les métadonnées et les

flux techniques, les nouveaux formats/services, le besoin d’un guichet unique innovation, les besoins en

formation à l’innovation, les aides à la création, etc.


Plusieurs acteurs du Groupe musique seront présents au MIDEM à l’occasion d’une table ronde présentant la

naissance de ce groupe :  Vincent Castaignet, responsable du groupe Musique de Cap Digital (et co-fondateur

Musicovery); Antoine El Iman, Co-fondateur Noomiz; Sylvain Vittecoq, CTI Qobuz/Abeille Musique; Jean-Baptiste

Soufron, directeur du Think Tank de Cap Digital.


Table ronde:

Dimanche 24 Janvier de 14H30 à 15H30

Club de la Presse du Palais des Festivals du Midem

A propos de Cap Digital

Cap Digital est le pôle de compétitivité des contenus et services numériques. Cap Digital regroupe plus de 500

adhérents : 430 PME, 20 grands groupes parmi lesquels Alcatel, Lagardère, Orange, Sony, Thales et 170 laboratoires

de recherche. Le pôle couvre 9 communautés de domaine : l’e-Education, le Jeu Vidéo, l’Ingénierie des

connaissances, la communauté Culture, Média, Presse, l’Image, Son et Interactivité, les Services et Usages, la

Robotique, le Design numérique, le Logiciel libre, Coopération et nouveaux modèles. Depuis sa création en 2006,

Cap Digital a reçu au total 738 projets, et en a labellisé 226. Ces projets ont été financés à hauteur de plus de

500M€. www.capdigital.com.


MXP4 powers new interactive and video games like music solutions for artists, fans, brands, labels and music distribution platforms : our patented technology allows to transform an MP3 into a game like experience for end users; our artist roaster to date include : Michael Jackson, Vitalic, Cindy Gomez, Soldout, Bassnectar, Sliimy, Ghostface Killah, Pink, Calvin Harris, Wax Tailor, Ophelie Winter, Nouvelle vague, Pony Pony Run Run, Dragonette, Midival Punditz, La Fouine, Birdy Nam Nam, Naive New Beaters, Stereos, Paramore, Jully Black, Pet Shop Boys, Molecule, Friends Of Friends, La Roux, The Sounds, Satine, David Guetta, The Grouch and Eligh, Chuckie, Britney Spears, The Grouch, Justin Nozuka, Jack Penate, Pep s, Kleerup, Dave Stewart, Esser, Passion pit, Amanda Blank, Data, Iliona Blanc, Speech Debelle, The Bravery, Bat For Lashes, Black and White Years, Basement Jaxx, Mark Knight, Coke, Ma Public Therapy, Black Kent, Danger, Nakidim, Lia Bowen, Make the girl dance, VV Brown, Ben Harper, Les chanteuses, Sarah Riani, Styrofoam Ones, Amen Birdmen, Laszlo Jones, Agnes, Kelis, Knaan, Audrey Katz, Stars, Digikid84, Big Boi, Knaan Music, Gotan Project...