SoundCloud and Landr partner to master your tracks for you

LANDR’s digital mastering software can now upload straight to SoundCloud so that users can perfect their mix and send it straight to their profile.

Here at RouteNote we know full well how good LANDR‘s cloud based mastering software works. Last September we also partnered with LANDR so that RouteNote users have the option to get their tracks digitally mastered upon upload.

Now SoundCloud are partnered with LANDR and they even have their own mastering format from LANDR. ‘Optimized for SoundCloud’ is free and “will master and enhance the quality of songs streaming on the platform.” From LANDR’s website you will be able to upload songs directly to SoundCloud after mastering, or existing masters in your library.

SoundCloud’s vice president of creators product and content operations, Matt Fenby Taylor said: “Creators are at the forefront of everything we do at SoundCloud. LANDR has created a great tool which allows anyone to achieve professional quality sound. We’re excited to partner with them to bring this easy-to-use, cost-free solution to our community of creators, enabling them to enhance the music they upload to SoundCloud.”

LANDR mastering software

LANDR’s software analyses tracks and alters the multi-band compression, EQ, stereo enhancement, limiting, and aural excitation to create it’s decisive best mix. There are some manual adjustments you can make yourself, so you’re not completely powerless, and LANDR’s software even analyses what genre your song is and adapts it’s mastering to the appropriate genre.

LANDR CEO Pascal Pilon said: “LANDR’s mission has always been to make pro-level sound quality accessible to everyone. SoundCloud, with its large community of music creators, is a perfect partner to help us accomplish our goal. As a SoundCloud user myself, I’m also pretty excited to have the opportunity to listen to my favourite artists consistently at their fullest potential, leveraging LANDR’s ability to make their mix richer and warmer without compromising the original feel of their creation.”

You can master your tracks for yourself, or to upload to SoundCloud from

Slacker Radio update takes you deeper than ever into the music

Internet radio service Slacker Radio have updated their app to emphasise their original shows that take you behind and beyond the music of artists with over 250 interactive episodes.

Music streamers Slacker Radio are improving their app to highlight their niche in exclusive original shows hosted and featuring a variety of artists. In a music streaming landscape that’s moving into video content Slacker are the first radio service to do it and the most original we’ve seen.

Slacker Radio update online music streamingshows slacker radio


CEO of Slacker Radio, Duncan Orrell-Jones said: “Since our inception Slacker has been focused on reinventing the radio experience, an attribute that sets us apart from other terrestrial, internet radio or satellite music services. We believe the magic of music listening does not come from the music catalog alone, rather the way in which the song is delivered to the listener.”

With that in mind Slacker’s update introduces a new user interface that doesn’t just aim to look prettier but make it easier than ever to access all your favourite content – whether that be one of Slacker’s themed stations, an artist curated show, on-demand streaming, etc.

There are 12 original shows showcased with the update, boasting over 250 interactive episodes of original shows, including:

The Count-up: Over 100 episodes showcasing the biggestSlacker radio music streaming songs from major artists,
as dictated by the listening patterns of Slacker users

Ranked: Slacker curators bring you the best, worst, funniest, and weirdest from the intersection of music and pop culture, with topics like “44 Greatest Living Guitar Gods” and “The 55 Most Controversial Songs of All Time”

Artist DNA: Take a journey into what makes your favourite artists tick, with a mixture of music and expert commentary. New episodes are added weekly covering every major artist (new and old) from every genre

The Twenty: Pop culture, holidays, current events: these are 20 songs with a unifying theme, such as “East Coast Hip Hop” and “Songs Dads Like”

Goes To 11: Passionate musicians talk about their inspirations and tell the stories behind their favourite artists and songs

Throwback Thirty: A countdown of the hottest Slacker songs from five years ago, updated the first Thursday of each month with flashback commentary on what we’re all talking about and listening to

I Am The DJ: Leading artists curate and host their own stations, featuring stories, music and surprises

CEO Duncan Orrell-Jones finished by saying: “The latest version of Slacker is all about providing an interactive combination of music, personality and storytelling, that can’t be found in any other music service today.”

You can start streaming music and Slacker’s fantastic shows for free from:

European Music Licenser ICE Sign First Deal With Google Play Music

A new music licensing body covering all of Europe have signed their first agreement with tech giant Google’s music streamer Google Play Music.

ICE represent around 250,000 rights-holders across Europe and hope with this agreement that they can help streamline licensing, resulting in growth and more profit for artists and rights-holders.

ICE Services CEO, Robert Ashcroft said: “We are proud to have been able to work together with Google Play Music to launch the first ICE Services online music license. ICE will make a major contribution to the Digital Single Market by simplifying pan-European licensing for digital music service providers and maximising value for rights-holders. We are delighted to mark the beginning of a revolution in the online market.”

music licensing Europe Google Play Music
Robert Ashcroft is CEO of ICE and was instrumental in its inception

Ice is a collaboration between 3 different music licensing organisations: PRS for Music from the UK, STIM from Sweden, and GEMA in Germany. They came together in 2010, initially as a joint database for copyrights, then rebranded in 2015 as a licensing body across Europe and a royalty processing service.

Google Play Music is one of the more respected streaming services amongst labels and artists as it’s royalty rates are higher – and by default fairer. In fact going by the latest reports Google Play Music has an even higher payout than the Hi-Res, artist-focussed Tidal.

Google Play Music’s head of international music publishing partner operations, Victoria Campoamor said: “We are honoured to have been selected as the pilot digital service and are pleased to be the first licensee to sign an agreement with ICE. We look forward to building a constructive relationship with ICE and to the realisation of operational efficiencies from the new platform and its benefits to composers and publishers.”

Spotify Payouts Up 85% To $1.8 Billion in a Year for Music Industry

Spotify’s road of success is showing no signs of slowing down as it’s been revealed that Spotify’s revenue has increased 80% in 2015, with an 85% increase in payouts to the music industry.

Whoever said Spotify doesn’t pay? Spotify earned an impressive $2.18 billion in 2015, almost double their earnings of $1.3 billion in 2014. Of these revenues the total payments to the music industry grew by 85% for a payout of $1.83 billion.

In case you can’t see the correlation, that’s a massive majority of Spotify’s total earnings, proving that they aren’t the ones leeching the profitability out of their service. Many of the artists complaining that they’re receiving little to no money on their music don’t blame the middle man – often big labels taking ridiculous percentage cuts.

In their financial report in Luxembourg, Spotify said: “Music has mass market appeal – and, as such, we believe we are just at the beginning of a much larger market opportunity, benefiting from significant first mover significant first mover advantages… Subscription-only models have not yet proven scale and free user models, while scaling, have not proven a path to profitability. Spotify has combined (the) power of both.”

music industry payouts revenues

As you can see though revenues may be increasing so are losses, but the ratio of gains to losses is dropping massively and suggests Spotify are close to turning around from their non-profit, startup roots.

Spotify are calling it their “best year ever” and fairly so; subscription revenues grew 78%, advertising revenues grew 98% and you already know how much their industry payout improved. Streaming is now a giant part of the industry and even accounts for two of the major labels primary income, as it continues to grow so will profits and awareness behind how streaming works – hopefully leading to a harmonic companionship between artists and services.

Streaming Accounts For Over 1/4 Of Album Chart Sales In UK – New BPI Report Reveals

The British Phonographic Industry (BPI) have revealed new data that shows 27.3% of “chart-eligible album sales” and 66.4% of the “chart-eligible single sales” came from music streaming.

When we say chart-eligible that’s because the UK uses an algorithm to define streaming quantities in charts. For want of a fair album chart, here in the UK they create album equivalent streams (the amount of streams that count as an album sale) by dividing an albums 12 most popular tracks by 1000. This is to prevent a hit single pushing an album higher than it’s earned.

Since the UK began counting streams towards chart sales last year the charts are made up of 27.3% streams for album charts and a whopping majority of 66.4% in the Official Singles Chart. This means that music streaming has become so prominent it’s the main factor in the UK’s official singles chart.

The BPI report shows the UK music industry is thriving in a global, evermore online industry – accounting for 17.1% of the global music share. This means that about 1 in every 6 albums sold worldwide is from a UK artist. It also showed that streaming has increased by 82% in a year, fuelling a 69% rise in income. 8BPI album streaming

BPI and BRIT Awards chief executive, Geoff Taylor said: “It is hugely encouraging that demand for British music is so strong at home and abroad thanks to our brilliant artists and the continual innovation and investment of our record labels.” Taylor went on to criticise YouTube for it’s meager payouts to musicians, saying: “Dominant tech platforms like YouTube are able to abuse liability protections as royalty havens at the expense of artists. The long-term consequences of this will be serious, reducing investment in new music, making it difficult for most artists to earn a living, and undermining the growth of more innovative services like Spotify and Apple Music that pay more fairly for the music they use.”