Today’s streaming market is a crowded arena that’s chock full of big brands, all of whom are vying for the same monthly subscribers, but none of them have truly distinguished themselves from the other. Yes, they all have different visual interfaces and apps, and some are even offering higher bitrates, but as listeners switch over to voice activated listening via smart speakers, how will users know the difference between Spotify, Apple Music, Tidal, etc. when the interaction becomes purely audio? Enter Super Hi Fi, a new service that is helping DSP’s and radio stations create unique audio branding and listener experiences.
Portland, OR has been home to a unique hip hop and rap community for decades, with veteran artists like Vursatyl, Cool Nutz, and Libretto paving the way. Now, up and comers like Amine, Myke Bogan, The Last Artful, Dodgr, Mic Capes, Vinnie DeWayne, Wynne, and more are creating a new era. So what does it take to foster a healthy music scene no matter the genre or locale? We discuss with Portland’s DJ Klyph and Cool Nutz on this episode.
The rise of streaming has bestowed the music industry with a wealth of data, but how can labels and artists leverage that data to sustain themselves in this brave new world? On this episode, recorded live from Indie-Con in Adelaide, Australia, Portia moderates a panel on streaming and data with Amy Dietz (INGrooves), Henry Compton (The Orchard), Maya Janeska (UNFD), Jane Slingo (Young Strangers), Ben Godding (AWAL/Kobalt), and James Limon (ABC).
People have been declaring the end of radio for years, yet stations continue to pop up and even thrive today. While many stations have been swept up by corporations, community and college low-power FM and internet stations still serve their communities. On this episode, we sit down with LPFM and college stations to discuss the role of community radio today, how college stations serve as a “pipeline for the music industry,” and how authenticity in media is more important than ever. Joining us are Zelos Marchandt (KBOO), Rebecca Webb (Portland Radio Project), Aaron Hall (XRAY FM), Laura Ragsdale (KFFP / Distiller Promo) and Jordan Rasmussen (KPSU).
How do you get your music on the “it” blog or radio station? When should you hire a publicist? What does a publicist even do? These questions are common among young musicians looking for their break. In our second installment of Music 101, we talk to tastemakers Sharlese Metcalf (KEXP) and Brandon Stosuy (Pitchfork) about how they discover new artists, then publicist Nathan Walker (Riot Act Media) gives some advice on promoting your band.
On the front page of Pandora’s website, there’s a statement that says “It’s a new kind of radio — stations that play only music you like.” How can it be that Pandora knows what you’ll enjoy? Isn’t liking music purely up to personal taste? Pandora, like many other digital music platforms, uses a complex algorithm to predict what their listeners want to hear. Other services employ human beings to curate their music discovery systems. So who’s the more effective tastemaker? Man, or machine? On today’s episode we tackle this question with writer and consultant Jim McDermott, then talk to two people who get paid to listen to music all day: New Music Scout and Artist Relations Manager for Marmoset Brandon Day and Rumblefish’s Senior Music Supervisor William Nix.