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Epic Downtempo. In 2016, Epidemic Sound decided to experiment with putting some of its catalogue on streaming services, with its composers getting 50% of the revenues generated on those platforms, on top of their original fee.Some of those tracks were subsequently picked up by Spotify’s in-house curators for inclusion on mood playlists, boosting their streams to a level that made Epidemic Sound think it was worth expanding its experiment into a fully-fledged non-B2B part of its business.Hoglund cites three main motivations behind all this.
It is up to them to determine if they want that kind of exposure and distribution and if they want to get access to our insights and tools. Epidemic composers are not allowed to join a society (stim, prs, ascap etc), so when you use their music in your youtube video, you don’t have to pay either. In late 2017, we took on new financing and we sold part of our business [40% to Swedish private equity firm EQT].
As we did that, our product became exposed to not just B2B customers but also to the prosumers who are the online creators. So the long tail is not only getting longer: it is getting thicker.
“There are black boxes, you attribute revenue because it’s difficult to track according to radio play, stuff like that.
Everybody knows the basis upon which they operate, paying their composers a pittance, whilst their staff have very considerable salaries. Swedish music company Epidemic Sound is launching a new program called Break.Through, which it claims will empower independent musicians in new ways. In 2016, Epidemic Sound decided to experiment with putting some of its catalogue on streaming services, with its composers getting 50% of the revenues generated on those platforms, on top of their original fee.Some of those tracks were subsequently picked up by Spotify’s in-house curators for inclusion on mood playlists, boosting their streams to a level that made Epidemic Sound think it was worth expanding its experiment into a fully-fledged non-B2B part of its business.Hoglund cites three main motivations behind all this. View more. If not in name, then certainly in intent. It revolved around analysis showing that unheard-of artists – who turned out to be musicians working for Epidemic Sound – were bagging lots of slots on some of Spotify’s prominent mood playlists.The charge was that there must be some kind of deal between Spotify and Epidemic Sound, which was diverting royalties away from ‘real’ musicians – something Now, he suggests that this was actually the first step in Epidemic’s move to help unknown studio musicians – the bread and butter of library music – into fully-fledged artists.“To some extent it has been good. We have had music people at the centre of our business for almost a decade. Hoglund is adamant that is not the exit strategy for Epidemic.“If you look at our last six months I think the answer is quite plain. Later that year, 40% of Epidemic was acquired by private equity house EQT. © Copyright Music Ally All rights reserved 2020 - Website designed and maintained by We use our own and third party cookies. Tous les albums du label Epidemic Sound à télécharger et à écouter en haute qualité.
It’s a claim certain to raise eyebrows in some parts of the music... May 11, 2018
We have never been inclined to ask for exclusives or want to own everything. It also covers if they want to start touring and making that part of their day-to-day lives.”Hence the Break.Through program, which could see some of those previously studio-focused musicians building followings and even heading out on tour. The answer is online video.”Expanding on this, he says, “We are now in the process of taking viewers and sending them to our playlists and tracks before they come to the music streaming platforms.”As Epidemic sits outside of the ‘traditional’ label and PRO structure of the music business, Hoglund believes this gives it an advantage over legacy labels.“A traditional label doesn’t have that [same data as we have] as they are not soundtracking YouTube and they are not soundtracking Facebook – they are all fighting about the splits not making sense,” he argues.“We dropped that discussion a long time ago and we focused on the strategic and important thing here which is to make sure that our music gets played for the right viewer so we can turn that viewer into a listener.”“There is a value gap discussion to be had [and discussions] about different pay-out levels […] but five years ago we made an active decision to acknowledge them but also choose not to focus on them,” he continues.“We chose instead to focus on how we can use this incredible opportunity in front of us to our advantage. Which again wasn’t the case: it was very much hundreds of people working just as hard as they always have. You collectively decide what’s good for a few should be good for everyone, and it’s a massive compromise. They tend to come out guns blazing with that kind of opinion, but then we go ‘This is exactly how we do it: this is what we do in audio-visual, this is what we do in streaming, and 50/50 is our model’,” he says.Hoglund does try to strike a diplomatic note, suggesting that Epidemic shares some core values with collecting societies and authors’ rights organisations.“There’s one thing that unites us all. We’re just as passionate about a solid and strong copyright system as they are. JAke Peg is spot on – journalist shd be ashamed of not getting to the bottom of this bottom feeding bs. At 11 years of age, Emil became fascinated by the drums and consequently began learning the instrument under the tutelage of his uncle.
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