Recently we discussed Why Music Streaming is the future for the music industry and DJs/artists. Now lets take a look and get some advice and perspective from a music industry executive, Mr Roy LaManna.
The music industry is changing fast lately. With music streaming being a very hot topic and buzzword lately EDM RANKS sat down with Roy LaManna, the CEO of Vydia, a music video monetization platform to get some more perspective on the whole music streaming buzz. With over 15 years in the entertainment industry, Roy LaManna’s name has become synonymous with the launch of visionary and inventive companies, propelling him as the go-to guy in the music video space.
LaManna honed his craft in music videos as the music video commissioner for Island Def Jam Music Group, where during his tenure, he executive produced video treatments for some of the label’s elite acts from Fall Out Boy, Justin Bieber, Tyga, The Killers and Ludacris earning him praise from The Huffington Post, Parade Magazine, NJ Biz and more. Lemanna has also worked with well known legends like Ariana Grande, Major Lazer, Quentin Tarantino’s The Hateful Eight, We Love Disney, Iggy Azalea as well the world’s most prominent brands including Munchkin, Disney, and Seiko.
EDM RANKS asked Mr. Roy Lemanna:
Music Streaming is the new buzzword in the music industry, what is your perspective on it?
I think streaming is the future of music, whether we like it or not, that’s just where things are going. We can either embrace it, get in front of it and think about how to monetize it or we could fight it and basically repeat the exact mistake that was made when downloads became popular.
What is the future for music streaming?
I think the future of music streaming is on the video side, not just because I have a company that is betting on that, but mostly because people just want their eyes and their ears stimulated. It’s the reason why YouTube is the number one music destination and it’s not even a music site, it’s a content site. Naturally, music is the biggest category there because people want to see and experience everything that it has to offer and I think that the future of music is matching visuals to audio.
With all the various platforms like YouTube, Spotify and SoundCloud, what do you think is the platform of the future for musicians and artists? Does it even exist yet?
Everything has a time and a place, it really depends on what you’re talking about. YouTube, for instance, is really good for the independent creator sharing and collaborating. Spotify is where most people find a lot of the catalog stuff and it’s more of a passive experience. You could put on headphones and just listen to it at work and just kind of zone out. SoundCloud is more popular with DJs and people who are really looking to collaborate in a specific type of music. The future platform is a bunch of platforms. I think it’s the way a lot of things go. You always have the one company that is the “800 pound gorilla” and then after that, other companies come in and the space gets fragmented, just like with music in general. People listened to the same music 50 years ago and now everyone likes not only totally different bands, but different genres, sub-genres, and everything else. I think that’s the same way with platforms and websites.
How can artists make more money with streaming?
Content is key and we emphasize that. Make a lot of content and keep it very prolific. Understand that when creating one song it could be a song video, a lyric video, a proper video, a behind the scenes video, etc. People want to see consistent quality content from creators. So, it’s not just about creating a single every six months. If you do that, even if it’s great, you’re not going to have much of a lifespan. There’s no album life cycle anymore, the cycle is 365 days a year.
So far, we have been talking about the advantages to streaming, but with the massive growth in streaming all of a sudden, do you see any negatives from the rapid growth?
The negative from the rapid growth is that the data isn’t really centralized. There isn’t one place that is the keeper of all the rights and who should get paid on what songs. I think that’s something that could happen, but needs a lot of cooperation and a lot of organization for it to be something that’s workable. The idea being that, you should be able to digitally fingerprint something and have all the owners attached to that file, and then any platform that it shows up on would automatically know who to pay and what portion of the revenue to pay out to. That’s maybe being a little idealistic about it and it probably won’t happen, but it would be nice to at least get a little closer.
What is your opinion on “Major Label CEO Confirms That ‘Playlist Payola’ Is a Real Thing…“
Payola was and still is happening in terms of radio. You still hear about it on a somewhat regular basis. Is it surprising that it’s then kind of moved over to play listing? No. You know why? Because radio is really popular and that’s moved the needle to artists, and now play listing does that, so why wouldn’t the Payola move along with that?
What would you say to BandCamp’s recent statement on how streaming is “an unproven business model” ?
It’s one of those things. There isn’t a business model and then everyone adheres to a business model. It’s really like, how does the end user want to consume their content and how do you make that experience better for them? It just IS the business model. It’s just what people are going too and where technology is moving towards. We’re a long way away from the idea that someone bragged about having 100,000 or 50,000 songs on their iPod or their iPhone. People want all their stuff accessible to them all the time and they want to be able to stream it off of someone else’s service. That’s just the way it is.
LaManna’s most recent venture, entertainment startup, Vydia, is a music video distribution platform that allows artists to distribute and publish their music videos on some of the world’s biggest platforms including Vevo, YouTube, Dailymotion, Facebook and more.