December 11, 2017 /

LEGAL DEPOSIT – PRESERVING NEW ZEALAND’S RECORDED MUSIC

The National Library of New Zealand has a statutory mandate to preserve the creative and documentary heritage of New Zealand. One of the ways the Library does this is through Legal Deposit.

Legal Deposit is the official legislation which requires publishers – such as newspapers, book publishers and record labels – to deposit their publications with the Library. It applies to sound recordings in all formats, analogue and digital.

The National Library’s music collection is a rich taonga preserved in perpetuity for the benefit of all New Zealanders. Depositing copies under Legal Deposit has benefits. You can be sure that the Library will permanently preserve your label’s recordings in their state-of-the-art repositories. Some labels have already used these collections to re-release some of their historic recordings. Your music will become discoverable to music researchers in New Zealand and overseas.

If your recording is released on multiple formats, then copies of each format are required under Legal Deposit to fully preserve its release history. Two copies of physical release formats are required unless fewer than 100 copies are produced. Only one lossless copy needs to be deposited of a digital release.

The Library will not make your digital recordings available online unless you have authorised the Library to do so or have made them freely available for download online. Otherwise they will only be available for researchers to listen to in the Library’s secure reading room in Wellington.

The National Library’s website provides further information about Legal Deposit, the enabling legislation, contact details and instructions about how you can submit your sound recordings. For more information about the National Library’s music collections, see this page.

 

December 6, 2017 /

COPYRIGHT ACT REVIEW – OPENING SUBMISSIONS

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In June 2017 the Minister of Commerce and Consumer Affairs released ‘Terms of Reference’ to launch a review of the Copyright Act 1994.

Recorded Music NZ has undertaken some extensive analysis and preparatory work in response, and has presented this comprehensive submission to both Ministers and Ministerial officials ahead of the release of the Issues Paper due in April 2018.

The review of the Copyright Act which is at the core of the Music (and Creative) Economy is one of the key projects and priorities for Recorded Music NZ on an ongoing basis.

The key points in our submission are that:

  • Copyright is a fundamental prerequisite for a well-functioning Music industry and creative economy – the countries that provide robust copyright law outstrip those who do not in terms of both GDP and productivity returns;
  • A major opportunity exists to grow New Zealand’s economic, cultural and social wellbeing through development of our creative economy for the benefit of both our local users and as export content; and
  • A number of priorities for action are identified in relation to copyright – importantly:
    • Reframe the Terms of Reference so that copyright is a seen as a value creator and not merely an input or cost;
    • Seek a fair, balance and functioning marketplace.  In Music’s case this is a fair digital market for all including the artists who create great Music;
    • Eliminate “leakage” (estimated to be 42% of the Recorded Music’s market) – i.e. from piracy and exploitative platforms.  Unfortunately piracy is still a real threat to the creative sector and in Music’s case is due to ongoing stream ripping notwithstanding the extensive legal and cost effective services our industry provides to consumers and users. Click here to view a current list of our legal services.
    • Clarify our safe harbour rules so that they are for passive users and not active ones which was the intent of the legislature when the rules were introduced in 2008.  The DMCA is no longer the gold standard and needs to be recalibrated as is proposed in Europe; and
    • Revise and update the Part III exemptions but do not go to the uncertain world of US Style “fair use”; and
    • Lastly, provide clarity and certainty in the law.

     The link to our full submission is here:

    Should you have any questions about this submission or the Copyright Act review please contact Damian Vaughan – Damian@recordedmusic.co.nz or Kristin Bowman – kristin@recordedmusic.co.nz

November 1, 2017 /

AUCKLAND JOINS UNESCO CREATIVE CITIES NETWORK

CC logo

Auckland is now officially a City of Music, joining the UNESCO Creative Cities Network announced this morning.The cultural arm of the United Nations, UNESCO, launched the Creative Cities Network in 2004 to promote social, economic and cultural development among cities who have identified creativity as a strategic factor and enabler for sustainable urban development. Auckland will join the 180 members from 72 countries around the world covering seven creative fields. It joins Dunedin (City of Literature) as the only other NZ UNESCO Creative City.

Councillor Alf Filipaina, a staunch supporter of the bid made by Auckland Council working with Recorded Music NZ and APRA, is thrilled to share Auckland’s distinctive sound with the world and strengthen music opportunities in the city.“From indie folk and brass bands to waiata aroha, the Auckland Philharmonia Orchestra and Lorde, there’s no doubt music is a part of us. It goes right to Auckland’s roots, with waiata woven into our history and everyday culture,” he says. “Supporting Auckland as a creative city and growing our music industry will enrich city life, the cultural landscape and build community identity and liveability for all Aucklanders.

In 2016, Auckland Council adopted Toi Whῑtiki, an arts and culture strategic action plan designed to promote economic growth in the industry. The city is already home to around half of New Zealand’s creative sector, with more than 18,000 Aucklanders working in the field.

Mark Roach at Recorded Music NZ says he’s excited about the potential the new status will have for Auckland’s future. “Music is a transformative power, not only as a cultural staple but also as an economic driver for the city. We are thrilled to receive this good news; the designation will support the development of a creative eco-system, strengthen the social fabric and position Auckland as the music capital of the Pacific.”

Research reveals seven in 10 Aucklanders have attended a music event in the last three years, making the most of a plethora of concerts and festivals held in the city. Songwriter Moana Maniapoto, Pacific musician Opetaia Foa’i and Gin Wigmore, are among the many who have propelled Auckland music onto the world stage.

Ant Healey at APRA says, “Auckland is fortunate to enjoy one of the most diverse and unique music scenes in the world. We look forward to bringing together all aspects of the music community, leveraging their special skill sets and collective experience to showcase our musical strength internationally. We want Auckland to be a place where music can thrive for the benefit of everyone who lives here.”

The global network will open up opportunities for collaborations between the creative industries, UNESCO member cities and other New Zealand cities, opening the door for international cooperation and knowledge exchange.

Aucklanders can be proud to know their city has been recognised alongside 30 other international cities of music, a “creative city” with music as its vital sign, as its heartbeat.

For further information please contact: Mark Roach, mark@recordedmusic.co.nz

 

October 19, 2017 /

The New Zealand Producer Series Announce Scholarship Recipients & Featured Artists

NZMPS

The second New Zealand Music Producer Series is being held from the 30th October at Roundhead Studios with workshops and seminars from international record producers David Wrench (The xx, Sampha, FKA Twigs, Goldfrapp, White Lies) and Romesh Dodangoda (Bring Me the Horizon, Motorhead, Funeral For A Friend, Twin Atlantic).

We are pleased to announce this year’s scholarship recipients who will join other participants in attending the series with support from one of our event sponsors, supporters or partner organisations.

Congratulations to:

Estere – Thanks to APRA AMCOS NZ
Villete Dasha – Thanks to Roundhead Studios
Zorran Mendonsa – Thanks to Recorded Music NZ
Maude Morris – Thanks to Big Pop Studios
Tarrant Shepherd – Thanks to Massey University
Margaret Lee – Thanks to The New Zealand Music Producers Series
Buzz Moller – Thanks to Universal Music NZ

 

With the support of NZ On Air we are pleased to announce the artists taking part will be October for the David Wrench workshop and Villainy for the Romesh Dodangoda workshop.

 

 

October 11, 2017 /

The New Zealand Music Producer Series announce details of the two public seminars

NZMPS

Recorded Music NZ and The New Zealand Music Producer Series announce details of the two public seminars, with support from SAE Auckland.

Moderated by producer Greg Haver, the first will be “From Artist to Mix Engineer”, Monday, October 30 at 7pm, with award-winning international producer David Wrench. The seminar will cover his career as an artist, engineer, producer and his work as mix engineer for artists such as: The xx, FKA Twigs, Frank Ocean, Goldfrapp and the recent Mercury Award winning “Process” album by Sampha.

The second seminar will be “Producing Modern Rock, Pop and Metal”, Monday, November 6, at 7pm with renowned Welsh record producer Romesh Dodangoda, who will discuss his career working with Bring Me the Horizon, Motorhead, Funeral For A Friend, Twin Atlantic, Bullet for my Valentine, Sylosis and many more.

30th October – David Wrench

Roundhead Studios, 151 Newton Rd, Eden Terrace, Auckland

6th November – Romesh Dodangoda

Recorded Music NZ offices, Level 1, 2a Hakanoa Street, Grey Lynn, Auckland.

Both seminars are FREE and open to the public, with limited numbers. Please email your name and the seminar you wish to attend to info@recordedmusic.co.nz to reserve your place.

For more info on The New Zealand Music Producer Series click here

April 6, 2017 /

Music industry records second straight year of growth

2016pie
After 15 years in decline, the New Zealand music industry has recorded back-to-back years of double digit growth. Wholesale figures released today by Recorded Music NZ state total revenues for the local music industry increased by 16 per cent to $86,198,000 in 2016, a further improvement on the 12 per cent growth in 2015.

Streaming continued its incredible ascendency as the number one medium for music consumption in New Zealand generating 50 per cent of the total industry revenues.

Recorded Music NZ CEO Damian Vaughan says streaming has revitalised and reenergised the industry which has weathered substantial change over the last two decades.

“We’re delighted to see continued industry growth in 2016 thanks largely to the unprecedented rise of streaming which generated more than $40 million in 2016, up a remarkable 169 per cent from 2016. Streaming services have emerged and thrived in NZ, giving consumers even more choice as to accessing and enjoying music in the digital age.”

Recorded Music NZ’s statistics also show public performance and broadcast revenues are up four per cent to $14,200,000. Downloads and physical product continue their decline, however they still contribute meaningful income to the local industry at $10,972,000 and $17,700,000 respectively in 2016.

“It’s clear that consumers still enjoy purchasing music in a physical form. We’ve particularly noticed a surge in the purchases of vinyl which contributed 14 per cent of all physical sales in 2016 and its revenue has grown from $1.6 million in 2015 to $2.5 million in 2016,” says Vaughan.

“We’re looking forward to building on this momentum in 2017 and beyond, both here and internationally. In 2016 we had a record equalling 8 number one kiwi albums, and a growing number of artists making their impact throughout the world. It is truly an exciting time for our industry and 2017 will be another outstanding year for New Zealand music”.

VIEW THE INFOGRAPHIC HERE: Wholesale market report 2016

December 21, 2016 /

The New Zealand Music Producer Series Evening Masterclass schedule

NZPS

 

Monday 16th January, 7pm. *

Sponsored by SAE Auckland

“Career Paths in the Music Industry” with Guy Massey, Dave Eringa, Greg Haver.

Tuesday 17th January, 7pm.

“Working with Iconic Artists” with Dave Eringa and Greg Haver.

Wednesday 18th January, 7pm.

“Recording, Engineering, Mixing and Mastering” with Guy Massey, Dave Eringa and Nick Poortman.

Thursday 19th January, 7pm.

Sponsored by Universal Music NZ.

“Remastering the Beatles” with Guy Massey.

All masterclasses will be held at the APRA Auckland offices:

Unit 113, Zone 23,

23 Edwin Street

Mt Eden, Auckland 1024

Thanks to the continuing support of all our sponsors the New Zealand Music Producer Series would now like to offer free entry to the evening masterclasses on a first come, first served basis. Please email your name and which seminar(s) you would like to attend to: greghaver@icloud.com

*Please note that current and former SAE students will have priority placements for the Monday masterclass.

 

December 19, 2016 /

Finalists for 2017 Best Folk Album announced

Tui Trophy 2006 004

A folk debutant joins two established veterans as finalists for the 2017 Best Folk Album, presented by Recorded Music New Zealand.

The winner will be announced 29 January at the ‘Tui Finalists Concert’ at the 44th annual Auckland Folk Festival in Kumeu (West Auckland) following performances from each of the finalists.

Graeme James’ is up for his first folk Tui with his debut album News From Nowhere which was released 23 September 2016 and entered the New Zealand Music Charts at #5, followed by a sold out tour across New Zealand and Australia.

In an attempt to mirror the energy and joy of his live show, he has performed and produced the album in its entirety, with a few notable features from select musicians including a duet with his wife who he met while busking in Wellington.

After returning from four years in India and Thailand, Guy Wishart is a finalist for his fifth solo album West By North.

Recorded at Roundhead Studios, the album charted for two weeks and reflects a distinctly country sound throughout. The release of West By North was supported by a tour across New Zealand over May and June 2016 and helped cement Wishart as a staple of the folk scene in Aotearoa.

Luke Thompson’s fifth album, Hosts, rounds out the finalists for Best Folk Album of 2017. Thompson is a well-travelled singer and songwriter from Tauranga and has shared the stage with many – from Passenger and Toto to Boy & Bear, Avalanche City and Lydia Cole.

The album was entirely self-recorded, self-produced and independently released. It was made entirely using only an old hollow body electric guitar and his voice.

Recorded Music NZ chief executive officer Damian Vaughan said the Best Folk Album category is always brimming with talented musicians and outstanding albums – and 2017 is no exception.

“All three finalists have recorded great albums that really do the diverse nature of the folk genre proud. Once again the finalists have set the judges an unenviable task in picking a winner. Sincere congratulations to each of them.”

Online ticket sales for the 2016 Auckland Folk Festival are open now. For more information visit: www.aucklandfolkfestival.co.nz

December 19, 2016 /

WeCreate welcomes government study of creative sector

Wecreate
WeCreate, the alliance of New Zealand’s creative industries, has welcomed MBIE’s new report Copyright and the Creative Sector. The report is the result of positive engagement with content creators and creative businesses who were provided with the opportunity to share their experiences of how content is created, produced, distributed and consumed across the many industries that are now recognised as making up the creative sector.

Chair of WeCreate, Paula Browning, said,” We applaud Minister Goldsmith and the team at MBIE for taking steps to build government’s understanding of how our sector utilises copyright and design. The report provides insights for those not familiar with how copyright and design work in practice and in context, and will be one useful reference point for any future review of regulatory settings.”

Participants in the study highlighted the multiple ways in which content can now be consumed, particularly online. For many of our creative industries the ability to digitally and globally distribute and promote provides new opportunities to grow export revenue for New Zealand, enhance our international reputation, and diversify the country’s reliance on traditional sectors.

“The report provides a qualitative assessment of the sector and WeCreate is currently looking at some quantitative analysis that will also help to inform our ongoing engagement with government. As the report says, it is the beginning of a conversation; we believe this should be about the value of our creative people and businesses in building innovation for the future prosperity of our country. Our members look forward to partnering with government in an economic development strategy that will deliver growth from our creative sector for the wellbeing of all New Zealanders.”

December 1, 2016 /

IFPI’S ‘INVESTING IN MUSIC’ REPORT

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IFPI’s ‘INVESTING IN MUSIC’ REPORT SHOWS RECORD LABELS INVEST US$4.5 BILLION ANNUALLY in A&R and MARKETING 

  • US$4.5 billion – record labels’ global investment in A&R and marketing in 2015
  • 27% - share of record company revenues invested in A&R and marketing
  • US$0.5 – $2million – typical cost to break worldwide-signed artist in major market

To visit the microsite please click here

The download the full report, please click here 

London, 30th November 2016 – Record companies remain the largest investors in music, providing more than US$4.5 billion for “Artists & Repertoire” (A&R) and marketing in 2015, according to a new report published today by IFPI, representing the recording industry worldwide, in association with the World Independent Network (WIN), representing independent labels internationally.

Investing in Music details record companies’ global investment in discovering, nurturing and promoting artists and their music. The report highlights the extensive ‘behind the scenes’ work performed by teams of professionals at record companies supporting these efforts.

Jointly introducing the report, Frances Moore, Chief Executive of IFPI and Alison Wenham, CEO of WIN, said: “Investing in Music highlights not just record companies’ financial investment in artists, but also the enduring value they bring to artists’ careers. In the digital world, the nature of their work has evolved, but their core mission remains the same: discovering and breaking new artists, building their careers and bringing the best new music to fans. These are the defining qualities of record companies’ investment in music.” 

Key data highlights from the report include: 

  • Record companies invest 27% of revenues back into A&R and marketing – this is the work of discovering, nurturing and promoting artists. Investment in A&R and marketing totalled US$4.5 billion in 2015.  Companies sustained this level of annual investment even as the industry weathered two decades of revenue decline.
  • Of that 27%, record companies invest 16.9% of revenues in A&R – this is a higher proportion than the equivalent research and development (R&D) investment ratio of all the leading sectors included in EU Industrial R&D Investment Scoreboard 2015.
  • A major international signing will cost between US$0.5 million and US$2 million to break in a major market such as the US or UK – including investment in everything from artist advances to recording costs, videos, tour support, and marketing and promotion.
  • Music companies also invest, along with distributors, in developing the infrastructure of the digital market, servicing more than 360 digital music sites globally with more than 40 million tracks.