Author: Sync Originals

  • Sync Originals e agência Isobar criam #memóriascantadasbb para o dia dos pais do Banco do Brasil

    Sync Originals e agência Isobar criam #memóriascantadasbb para o dia dos pais do Banco do Brasil

    O Banco do Brasil lançou a campanha “Memórias Cantadas”, uma ação colaborativa e especial para o dia dos Pais, cujo conceito afirma que “nossas histórias são feitas de momentos que ficam marcados e, por mais diferentes que sejam, certamente têm uma coisa em comum: os pais”.

    A ação resultará no lançamento do single de mesmo nome, gravado pelo cantor Di Ferrero. Segundo Paula Sayão, executiva do Banco do Brasil: “É uma homenagem a todos os momentos especiais vividos entre pais e filhos. É a música sendo usada para eternizar essas lembranças, incentivando a criação de novas histórias”, comenta.

    Criada pela Isobar, a ação convida os usuários do Twitter a compartilhar suas histórias de vida e experiências ao lado de seus pais, por meio da hashtag #MemóriasCantadasBB.

    A campanha acontece durante toda esta semana que antecede o Dia dos Pais. O participante posta sua história e fica na torcida para que ela faça parte da letra da música.

    Logo no primeiro dia da ação (01/08), mais de 200 histórias foram compartilhadas em menos de 24 horas.

    O single será lançado nesta sexta-feira, 09/08, no canal do Banco do Brasil, no Spotify. No domingo, vai ao ar, nas redes do banco, o clipe da música, com agradecimento a todas as pessoas que ajudaram a compor a letra.

    Fonte: B9.com.br

  • Emerging Artists Are Key For Building Authentic Connections Between Brand And Consumer

    Emerging Artists Are Key For Building Authentic Connections Between Brand And Consumer

    While teaming up with an artist can be beneficial for both the brand and artist, there is a certain risk, at least to the artist, that such partnerships will be harmful to fans’ perception of their authenticity. Here we look at how partnering with emerging artists can help make the connection between brand and consumer seem more authentic.

    Photo: Pearls Negras (ABRONCA). Check out out Artists & Brand Case Study with Melissa (Grendene) and ABRONCA at Glastonbury Festival > here <

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    Brands align with artists to tap into the genuine relationships artists have with their fans. But the bigger the artist, the harder it is to be real. By becoming part of an emerging artist’s story, brands can build authentic connections with consumers at the same time that artists are building authentic relationships with their core fans.

    Something special happens when you’re early

    Individual fans are key to discoverability for emerging artists. We all understand this on an emotional level. Think about how it feels to be the first person in your friend group to discover a cool new artist. It’s a special feeling—one that makes you, the fan, feel as though you’re a part of the artist’s career.

    The same thing is true for brands that work with emerging artists, but the impact is even greater. Emerging artists need support and resources. When brands provide that support, they’re literally helping the artist break. In turn, that support will be repaid by a grateful artist who is going to share a genuine appreciation for the brand with their audience. Just as important, fans will pick up on that authentic connection, forming a powerful three-way union between artists, audience, and brand.

    Quality is the new quantity

    The more popular an artist becomes, the harder it is for them to respond to every Tweet, comment, or Like. This isn’t about ego, it’s a question of time. Eventually, a successful artist won’t have enough hours in the day to give every single fan a personal response—no matter how much that artist loves to connect with their fans.

    That’s why engagement actually goes down as the follower count increases. Influencers with more than 100,000 followers average 1.5 percent engagement on Instagram and only 3 percent on Twitter. The reason? Social media is about making personal connections. The bigger you get, the more impersonal that connection feels.

    Arguably, Instagram is as sensitive to this paradox as the individual influencers who use the platform. With one billion active monthly users generating 4.2 billion Likes each day, the ‘Like’ isn’t all that special. In fact, as a social currency, the Like decreases in value the more Instagram grows. That’s one reason Instagram has been testing the idea of hiding Likes in order to shift the focus from a meaningless metric onto the platform’s real value proposition—sharing authentic content with engaged audiences.

    But brands don’t have to wait for Instagram to figure out what emerging artists already know—quality is the new quantity. Emerging artists hit a sweet spot for brands because their fanbase is incredibly passionate, but the size of that fanbase remains manageable enough to make authentic engagement possible. In other words, the relatively small fanbase is a critical advantage for the emerging artist and the brands that work with them.

    3 Step for brands to work with emerging artists

    It starts with audience data

    Data is at the core of influencer marketing. But instead of thinking about how many followers an artist has or how many Likes they can generate, marketers should think in terms of granular audience data. The goal is to define, as precisely as possible, the consumers you want to reach, and then identify the emerging artists that speak to those audiences.

    Time your engagement

    A partnership between a brand and an emerging artist should be a mutually beneficial media opportunity. By timing the engagement to correspond with the emerging artist’s tour or music release, marketers not only maximize their media and promotional dollars, but they also increase the relevance of the brand’s message. After all, fans are fans year round, but they’re more engaged and passionate when the artist has something to offer like new music, a new video, or a tour.

    Understandably, marketers have their own timing needs that are dictated by business considerations. But remember, a single emerging artist isn’t going to carry the weight for an entire campaign. And thankfully, marketers don’t have to choose between forcing the timing of an engagement or missing out on an opportunity. The solution is to build a roster of emerging artist partners so that the brand always has an artist to work with.

    It’s all about values

    Consumers can smell a fake a mile away. Conversely, when consumers see something real they know it immediately, not in their heads, but in their hearts. That’s why even granular audience data, perfect timing, and marketing dollars can’t deliver engagement without authenticity. So, how should brands think about authenticity when working with emerging artists?

    The key is for the brand to look for an emerging artist who shares the brand’s values. Of course, that takes hard work—and real conversations. Brands need to have internal discussions about what they stand for. Artists need to do the same thing with their team. And most important of all, brands and artists need to align around values before they work together. When brands and emerging artists form a partnership around values, they create an authentic relationship that will draw consumers in for a meaningful conversation.

    Guest posts by Maxwell Zotz, the Director of Artist Relations at MAX

  • Judge approves settlement in Lowery/Ferrick mechanical royalties case

    Judge approves settlement in Lowery/Ferrick mechanical royalties case

    A US judge has finally approved the proposed settlement in one of the highest profile of all the lawsuits filed in relation to the mechanical rights mess Stateside: ie Lowery & Ferrick v Spotify. That mess, of course, has resulted in many songwriters and music publishers not receiving all the royalties they are due when their songs are streamed via on-demand streaming platforms.

    Most streaming services operating in the US have been on the receiving end of litigation in relation to unpaid mechanical royalties. America is unusual in that it doesn’t have a collecting society that can provide a blanket licence covering the so called mechanical rights in songs. Such licences, available in most other countries, mean that streaming services can ensure that they are fully licensed when it comes to song rights, relying on the blanket licence for any works not covered by direct deals with music publishers.

    The lack of such a society and blanket licence in the US means that – while American copyright law sets the royalty rate for mechanical rights – each streaming service needs to identify what specific song rights it is exploiting and who controls those rights, and then make sure the relevant paperwork and payments are sent to the copyright owners. With no central publically accessible database of music rights linking recordings to songs and identifying current beneficiaries, that has proven to be a very tricky task.

    It also meant that some songwriters and publishers went unpaid, resulting in litigation. Musicians David Lowery and Melissa Ferrick both put their names to class actions against Spotify in relation to unpaid mechanicals. Those two lawsuits were then later combined, with the streaming firm subsequently proposing a settlement deal that includes setting aside a fund worth $43.4 million to compensate songwriters and publishers whose songs it streamed without licence.

    The basic terms of that settlement were agreed a year ago, but they needed court approval. Also, other members of the class – ie songwriters and publishers who were likewise unpaid by Spotify and who formally affiliated with this class action – had an opportunity to object to the deal. And some did.

    Among those who objected was independent music publisher Wixen, which said that the proposed settlement was “procedurally and substantively unfair” and provided “an unfair dollar amount in light of Spotify’s ongoing, wilful copyright infringement of [our writer’s] works”. Though Wixen subsequently filed its own lawsuit in relation to unpaid mechanicals.

    In her ruling this week, judge Alison Nathan overruled all those objections for various different reasons, concluding that the settlement agreement was “fair, reasonable and adequate”. She also ruled on legal fees, awarding the lawyers who worked on the case a few million less than they had been pushing for. Though they’ll still see $13 million for their efforts, so I wouldn’t worry too much about them.

    Although other lawsuits in relation to unpaid mechanicals continue to go through the motions, the digital music sector hopes that these ongoing issues will be dealt with by the Music Modernization Act that is currently working its way through US Congress.

    That legislation will finally introduce a collecting society and blanket licence for mechanicals in the USA. Which doesn’t necessarily mean the right songwriters and publishers will start receiving their royalties, but it will shift the responsibility for working out who needs to be paid away from the streaming services to the new society and the songwriters and publishers it represents.

    Source: Complete Music Update

  • New PRS live performance licence gets Copyright Tribunal approval

    New PRS live performance licence gets Copyright Tribunal approval

    PRS For Music has received Copyright Tribunal approval of new terms for one of its main live performance licences, what the rights body calls its ‘Tariff LP’ licence. The new terms will now become effective early next month.

    Concert promoters need public performance licences from whoever owns the copyright in any songs performed at the shows they promote. These licences are usually issued via the collective licensing system, which means PRS in the UK. Under its current ‘Tariff LP’ system, PRS takes 3% of ticket monies from any gig or festival in the UK where its members songs are performed, which is most gigs and festivals in the UK.

    That system has been in place since 1988, though PRS has instigated two reviews in recent years, mainly because the live sector boomed in the 2000s. After its first review, the society announced in 2011 that it would keep things as they were. But when a second review came along just four years later in 2015, it seemed certain this time changes would be proposed. This prompted two years of negotiations with the live industry, before new terms were finally agreed last year.

    The proposed overhaul was then sent to the Copyright Tribunal, the court that can intervene and set rates in the collective licensing domain when licensees and licensors can’t agree on terms. Its approval was required for this revamp.

    Although PRS went to Tribunal with most music industry stakeholders endorsing its proposal, there was a delay because the new licence didn’t accommodate the recent trend for some artists to license their songs to promoters directly when they are performing them themselves. PACE, a company that assists artists who have opted to go that route, objected, resulting in a final amend to introduce a little flexibility into the PRS licence where direct licensing occurs. Though quite how that will work remains to be seen.

    “By working together with our colleagues across the live sector we have successfully negotiated an agreed outcome for all parties and I’m very pleased that the Copyright Tribunal has now approved the terms, as agreed between PRS and the live sector representatives”, says PRS For Music’s Executive Director of Membership, International & Licensing, Paul Clements.

    “We have reached an agreement which not only recognises and rewards the huge contribution made by our songwriter and composer members to the live industry”, he continues, “but, as importantly, recognises the different needs and strengths of the thousands of venues and events across the UK that are critical to the ongoing sustainability and diversity of the UK live music scene”.

    The outcome of the review is basically that rates go up slightly at the top of the live sector, and down at the bottom, with the previous minimum charge removed entirely. When the new terms come into effect on 11 Jun, the royalty rate for concerts, and all other live music events within the scope of Tariff LP, will increase from 3% to 4%. However, a new rate will also be introduced to the tariff for festivals that meet certain criteria. These festivals will see the rate drop to 2.5%.

    Source: Complete Music Update

  • Norwegian collecting society reports Tidal to police over Kanye and Beyonce stat allegations

    Norwegian collecting society reports Tidal to police over Kanye and Beyonce stat allegations

    So this is getting interesting fast. The Norwegian collecting society Tono has filed an official police complaint against Tidal over those allegations published in Dagens Næringsliv last week. The Norwegian business newspaper alleged that Tidal skewed the streaming stats in relation to Kanye West’s ‘Life Of Pablo’ and Beyonce’s ‘Lemonade’, two records with which it enjoyed exclusives.

    Following chatter to the effect that the official number of plays for those albums in the weeks after release seemed very high, given the size of Tidal’s userbase, DN got its hands on some internal data from the streaming company.

    It says that when it approached certain Tidal subscribers – who this database said had streamed the Kanye or Beyonce albums an awful lot – at least some of those subscribers denied having listened to these records anything like the number of times the official figures said. The journalists than had some academics scrutinise the data. Said academics concluded it had been tampered with.

    Tidal strongly denies any fiddling of the figures. However, if the plays for any one record on a steaming service were artificially increased, because of the way streaming royalties are calculated (revenue share based on consumption share), that would not only mean those artists being overpaid, but other artists and songwriters could be underpaid too.

    This is why Tono is keen to assess the credibility of the allegations, given its members could have lost out if any stat fiddling had indeed gone on. The society has reported Tidal to the Norwegian National Authority For Investigation And Prosecution Of Economic And Environmental Crime, urging it to investigate.

    According to another Norwegian news provider, the country’s version of The Local, Tono says that last week’s claims are “strong” and “apparently credible”, but also notes Tidal’s counter allegation that it was DN journalists who actually manipulated its data. Tono director Cato Strom said in a statement: “We have to protect the interests of the rightsholders for whom we work, but we also believe that a complaint is in the interest of Tidal which says the data has been stolen and manipulated”.

    Danish collecting society Koda is also known to be investigating last week’s reports, starting with an audit of the data it received from Tidal. It’s thought that other European societies or rights owners could follow suit.

    Responding to DN’s report last week, Tidal said: “This is a smear campaign from a publication that once referred to our employee as an ‘Israeli intelligence officer’ and our owner as a ‘crack dealer’. We expect nothing less from them than this ridiculous story, lies and falsehoods. The information was stolen and manipulated and we will fight these claims vigorously”.

    Source: Complete Music Update