December 21, 2016 /

The New Zealand Music Producer Series Evening Masterclass schedule



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:

*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:

December 19, 2016 /

WeCreate welcomes government study of creative sector

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 /




  • 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.


December 1, 2016 /

Official NZ Charts to include Bandcamp statistics

Starting tomorrow, both the Official New Zealand Music Charts and IMNZ Charts will include physical and digital sales from Bandcamp – an online community where artists and labels sell their music direct to fans.

The addition comes as Recorded Music New Zealand continues to evolve the Charts to accurately reflect all the ways that New Zealanders collectively consume music.

Bandcamp joins other popular online music services that contribute such as Spotify, Google Play and Apple Music and traditional physical retailers such as The Warehouse and JB HiFi.

Recorded Music New Zealand Data Manager Paul Kennedy says the changes are in line with the organisation’s commitment to reflecting how music consumption keeps evolving.

“Bandcamp has become a popular destination for local music fans, especially those looking to explore the full depth of independent and innovative music available out there today,” he says.

“Being able to fully reflect that diversity of music in both the Official Top 40 and the IMNZ charts is something we are very pleased to be able to do.”

This follows the inclusion of streaming in the Singles Chart in 2014 and the Album Charts in June this year.

Bandcamp’s Chief Curator Andrew Jervis says, “New Zealand has so many amazing labels and artists, many of whom use the site. From labels like Flying Nun to Loop Recordings, and a massive array of artists from established acts like Fat Freddy’s Drop and Connan Mockasin, to up and coming groups like Yoko-Zuna, the new New Zealand music scene is alive and kicking. We’re delighted that sales happening on Bandcamp will now count towards the New Zealand charts because it should help more fans find more amazing music.“

Dylan Pellett, General Manager of Independent Music New Zealand says the addition is a hugely welcome one.

“Bandcamp has become one of the easiest paths to market for New Zealand labels and artists. IMNZ is really happy to include their statistics into the charts ecosystem and we’re confident this will be of great benefit to all independent artists and labels.”

To be chart eligible you must enter UPC (bar code) information for albums and ISRC information for tracks when you set up your release. Enter this info on the edit pages when you’re uploading artwork, adding lyrics, etc.

November 16, 2016 /

The NZ Music Producers Series


The first New Zealand Music Producer Series will be held at Roundhead Studios in Auckland from January 16 – 20, 2017.

Hosted by producer Greg Haver and supported by NZ On Air, Recorded Music New Zealand and APRA AMCOS the masterclasses will bring two international producer/engineers to Auckland to work with the country’s best studio professionals on recording and mixing, Q&A seminars plus one-on-one input and assistance on personal projects.

Roundhead Studios will be running tracking and mix sessions for groups of up to eight people, plus evening seminars for larger groups, to exchange ideas across all facets of the recording industry.

Grammy award-winning producer/engineer Guy Massey and renowned producer/engineer Dave Eringa are confirmed for the series.

Guy Massey started his studio work on a placement at the world-famous Abbey Road studios, assisting on seminal albums including Radiohead’s The Bends and Oasis’ Be Here Now. He was tasked with remastering the entire Beatles back catalogue, winning the 2010 Grammy for Best Historical Album. He has worked with artists as diverse as Paul McCartney, Ray Davies, Ed Sheeran, Van Morrison, Bill Fay and Paul Simon, Spritualized, The Divine Comedy, along with up-and-coming artists including Eliza and the Bear and The Soft Hills.

Guy, who has won the Music Producers Guild Best Engineer award in 2009 and 2013, along with nominations in 2014 and 2015, says he’s excited about the series. “I’m very much looking forward to meeting and working with the engineers and producers in New Zealand, with its diverse and vibrant music scene,” he says.

Dave Eringa began his career as the assistant at Robin Millar’s Powerplant Studios in North London, before moving onto the Kinks’ Konk Studios. Here he began a long- term working relationship with the Manic Street Preachers as engineer, producer and musician. His work includes the albums This Is My Truth Tell Me Yours (Including the single “If You Tolerate This You’re Children Will Be Next”) Know Your Enemy and Postcards from A Young Man. His credits also include The Who, Roger Daltrey, Idlewild, Nine Black Alps, Ash, Tom Jones, Kylie Minogue, Wilko Johnson and Ocean Colour Scene. He has recorded at many of the world’s best studios and is an expert in both analogue and digital recording techniques.

Dave, who will also be available for recording sessions post the event (apply via contact details below) has long been a fan of Kiwi music. “The New Zealand music scene has always punched far above its weight. From Split Enz to Crowded House and the Flying Nun label, right through to Lorde,” he says.

“I can’t wait to come and meet the next generation of producers, engineers and artists and work with them on recording techniques.”

Applications for the New Zealand Music Producer Series open from November 14 – December 24, 2016.

Five Day Series: The module offers five days tracking, mixing, four evening seminars and two one-on-one tuition sessions. $1,380 including GST.

Two Day Series: Two-day tracking with one producer, including a one on one session and two evening seminars. $690 including GST.

Evening Masterclass:  Each evening masterclasses will cover a specialist subject such as the development of recording techniques, how to work with and motivate artists, the changing face of the recording industry, recording industry career paths and all will include extensive Q&A sessions.

For application details and further information, contact Greg Haver on

Check out the NZ Producer Series Facebook page.

The New Zealand Producer Series is proudly supported by NZ On Air, Recorded Music New Zealand and APRA AMCOS.

Terms and Conditions:

  • Applications must be submitted by 5pm, December 20, 2016
  • Three examples of production/engineering work must be submitted as part of the application. Submissions by link (Soundcloud, Spotify etc.).
  • Successful applicants will be informed by 5pm, December 24, 2016
  • Payment must be received in full by 5pm January 7, 2017.
  • A cancellation fee of 50% will apply after 5pm January 7, 2017.
  • Travel, transfers, meals and accommodation are not included in the course fee and are the responsibility of the attendee.
  • The New Zealand Music Producer Series reserves the right to amend or vary the content of the Series at any time.
  • By participating, attendees grant The New Zealand Music Producer Series permission to use their names, photographs and video likeness for future promotion and marketing purposes without remuneration.
November 3, 2016 /



Scuba Diva has been announced as the winner of the NZ On Air Critics’ Choice Prize as part of the 2016 Vodafone New Zealand Music Awards.

He was awarded the Prize after performing at the Tuning Fork in front of an enthusiastic live crowd and fellow finalists Kane Strang and SPYCC & INF. Read more.

November 3, 2016 /


Volume - Open Now

Celebrate the music of our nation with Volume: Making Music in Aotearoa, the first-ever major exhibition of New Zealand music. A homegrown, hands-on, ears-on exhibition, Volume explores the soundtracks of our lives through vibrant and interactive displays.

From ‘Loyal’ to ‘Royals’, from C’mon to clubs, from ‘Poi Poi Twist’ to ‘Poi E’, Volume is a landmark exhibition about making and performing popular music in Aotearoa.

Volume takes you on a musical journey, starting with today, and winding back through the decades to the 1950s. Hear the songs that you’ve fallen in love to, broken up to and everything in between.

Get up close to hundreds of objects from the personal collections of some of Aotearoa’s most well-known artists. Costumes, instruments, handwritten lyrics, awards, images and memorabilia will bring the story of New Zealand music to life.

Volume is more than just a history of popular music. You’ll be able to step into a recording studio, spin the decks as a DJ, flip through records in a 1980s’ record store, unleash your inner rock star and learn to play a classic Kiwi song in a 1970s’ pub, or step back in time and on to the set of 1960s’ music show C’mon.

Volume has been developed with the New Zealand Music Hall of Fame Trust (APRA AMCOS and Recorded Music NZ), and is amplified by SPARK.

October 25, 2016 /

NZ Music Industry economic report 2016 released

Media release

17 October, 2016

PwC report: Music industry contributed $484 million to New Zealand GDP in 2015 

2015 PwC report highlights:

  • The music industry contributed $484 million to NZ’s economy
  • The music industry in NZ supported employment of 4,508 full-time equivalent workers (FTEs)

The report commissioned by Recorded Music NZ, APRA AMCOS and The NZ Music Commission with the support of NZ On Air, Te Mangai Paho, Creative NZ, Independent Music NZ and The Music Managers Forum was conducted by PwC.

It reveals the New Zealand music industry in NZ contributed $484 million and 4,508 full time equivalent jobs (FTEs) in 2015. It was a year of total growth and four out of five market segments grew.

The two largest contributors were music radio broadcasting and live music performance.  Music radio broadcasting contributed $214.5 million and live music performance (primarily driven by a number of international heritage acts touring NZ in 2015) contributed $157.8 million, which collectively amounts to 77 per cent of the music industry’s 2015 total GDP contribution.

Music retailing – the physical and digital sales of music, including traditional and store-based retailing, online stores and payments for online music streaming services – generated a total economic impact of $78.9 million and the equivalent of 407 full-time jobs.

This is an increase from 2014’s $71.2 million, boosted by the growing popularity of streaming services nationwide. The gross output from online streaming almost doubled between 2014 ($18.6 million) and 2015 ($36.8 million), indicating consumers have moved towards an on-demand consumption preference – especially as the popularity of services such as Spotify, Apple Music and Pandora continue to grow.

Communication and public performance contributed $28.9 million to the economy and the equivalent of 352 full-time jobs. The subsector includes royalties derived from music played on radio, television and the internet as well as music played in public such as at retailers, hospitality outlets, education facilities and gyms.

Synchronisation, referring to the royalties earned from licensing music for use in advertisements, games, films and television programmes, contributed $4.1 million and the equivalent of 50 full-time jobs to the economy.


The report analysed the direct economic impacts of the music industry, the impacts of music spending which occur when the music industry purchases goods and services from other industries, and the induced impacts which are generated when wages or salaries earnt in the industry are spent on other goods and services. The total economic impact of the industry includes all of these effects.


October 17, 2016 /


The inaugural Artisan Awards celebrates the behind the scene excellence of the industry at a standalone cocktail event on 20 October, spotlighting the Artisans who bring the musicians’ visions to life. Read more.