It is now widely accepted that the surge in digital platforms has vastly changed our attitudes to consuming music. Nielsen, the data information provider’s 2014 U.S music report has on-demand streaming up by 54% from 2013 with 164 billion streams in the same period. This is largely down to the success of music streaming services like Spotify and Deezer, but most interestingly this has also created a niche but lucrative market that has accounted for a slower decline in physical CD sales than seen in previous years. Vinyl also produced encouraging data with an overall increase of 52% from 2013 – accounting for 6% of all physical sales.
Closer to home the figures are much more encouraging for the traditional audio formats. The British Phonopraghic Industry (BPI) report that after reaching a peak of 32.6m unit sales in 2013, digital album downloads registered a 9% drop in 2014 to 29.7m units. In the same period, physical album sales reached 57.2m accounting for 65.9% of the market share. Similar to the trend on the other side of the Atlantic, there was an encouraging surge in vinyl sales up 65% on the previous year to 1.3m units sold.
Behind the numbers
It is difficult, even with the wealth of available data to pinpoint any particular variables on the resurgence of vinyl, the positive performance of physical CD’s in the UK and the contrast in digital album downloads between the two key markets. Perhaps, the numbers show that diversity is the elephant in the room. Instead of having a largely two-tone conversation about physical and digital, the chatter ought to also be about how artists and labels can best take advantage on all ends of the spectrum.
If you haven’t been living under a rock for the last year or two, or have at least read a national publication you’re most likely familiar with the term crowdfunding. Essentially, it is a means of raising finance by asking a large number of people each for a small amount of money typically using the internet, allowing those seeking an investment to access thousands more investors than would be possible using traditional methods. This is revolutionising many industries, and music is one of those. In an age where creating music is possible to anyone with a microphone and a computer, those serious about their craft must be constantly innovative, not only in their art but in how they promote their music and brand. Kickstarter, a traditional crowdfunding platform has a music projects section, which makes it easier for fans to pledge an artists’ project. There is a refreshing diversity in the methods deployed by the users of these platforms including tier packages that depend on the amount you have pledged – with the more you pledge the more personalised your product will be. These include full tour tickets, signed physical cd & booklets and merchandise. Worldwide collective, Soulection, whose impressive roster includes Atu, Sango and Sam Gellaitry have mastered the art of functioning almost exclusively as a direct-to-fan brand by using the aforementioned platforms to sell & market artists’ albums including selling the music exclusively for charitable purposes.
I wouldn’t be doing my marketing instincts any good if I deny myself the opportunity to showcase how Duplion and the service we offer on this site, provide artists and niche labels the opportunity to take full advantage of this shift in consumer attitudes. Our CD/DVD duplication and replication service offers tremendous value for the quality, price and turnaround times we offer. This isn’t marketing talk, it’s a truth, born from the simple fact that the only reason this service exists is so we can pass on the benefits of our production efficiencies to the consumer.
More about Duplion:
Duplion owns and operates the largest duplication centre in the UK, working with some of the largest content publishers, bands, record labels, corporate and public sector clients.
We’re not just a Duplicator, we have a proven track record offering a complete range of services for CD, DVD, Blu Ray, USB and Vinyl products with turn times as short as 12 hours. This is complemented with print, automated packaging or manual assembly options for more complex multi component products.