Tribe of Noise

Tribe of Noise is op zoek naar een leergierige en resultaat gedreven zelfstarter die vol enthousiasme van achter zijn/haar laptop, telefonisch en face-to-face onze klanten kan enthousiasmeren.  

Wat houdt de functie in?  Tribe of Noise ontwikkelt en lanceert innovatieve streaming muziekdiensten voor zakelijke markten (retail, horeca, sports). Wij zijn van mening dat een tevreden klant ook een fantastische marketeer / verkoper van onze muziekdienst is. Jouw rol wordt het bedenken, uitrollen en verbeteren van beloningsprogramma’s voor deze klanten. Daarbij heb je direct contact met klanten en ben je in staat om je bevindingen te vertalen in concrete actieplannen. 

Herken je jezelf?

Je hebt uitstekende kennis van de Nederlandse en Engelse taal

Je kunt goed plannen, organiseren en bent resultaatgericht

Je bent een zelfstarter, kritisch, analytisch, enthousiast en hebt lef

Heb je ook talent voor het creëren van pakkende web content (video, foto, tekst) dan heb je een streepje voor. 

Meer over Tribe of Noise Tribe of Noise, gevestigd in Amsterdam, vertegenwoordigt op dit moment meer dan 28.000 artiesten wereldwijd. We ontwikkelen en lanceren innovatieve verdienmodellen voor talentvolle artiesten die naast de traditionele paden (platenlabel, uitgeverij, digitale distributiepartners) onze ondersteuning kunnen gebruiken bij het verkennen van nieuwe verdienmodellen en afzetmarkten. In Nederland is Tribe of Noise onder andere bekend van de muziekdiensten Muziek Online Zakelijk, KHN Muziek, BizMusiq en de rechten-inclusieve music sync engine voor film, video- en reclamemakers: Tribe of Noise PRO.

Van stage naar... Wij geloven in het creëren van je eigen loopbaan. Deze functie staat open voor zowel studenten als (young) professionals die deze stageplaats willen gebruiken als een springplank in de muziekindustrie. Een industrie die momenteel onder druk van o.a. YouTube, Amazon, Apple en Spotify een interessante transformatie doormaakt.

by Gigi Tsakiris, Tribe Warrior

The advent of music streaming services has consistently created an immense distortion regarding opinions, prevalence, perseverance, and of course the effect music streaming services have had on the current state of the music industry. 

Prior to the inauguration of such services, the industry as a whole was held on a saturated stance, experiencing huge losses in revenue, and had no means of producing any alternative model that would coincide with the needs of music consumers.  With that said during those times most music consumers had inadvertently been conditioned to generally acquire music through pirated websites without having any conscious consideration of the repercussions their actions would have towards their favorite artists, and presumably the industry as a whole. 

From the music consumer’s standpoint, many purported to ignorance with actions that would result in the music industry losing over $40 billion dollars in revenue. This is in part due to the fact that since the only legal option to acquire music was by means of purchase, once Napster entered the music market and offered music for free, that frame of thought of “buying” unfortunately went out the window. For a couple of years people generally owned music by either purchasing a CD, digital single/album, or torrenting from a pirating website. The disruption to that form of conduct was incurred by the disturbance brought by technological advancements supporting music streaming services.  For some time, these companies have made it their mission to try and solve the piracy issue that has blatantly botched the music industry.  Their efforts have now become a trend, and more and more companies are starting to follow and accept the streaming model.   

So far in, one general consensus towards streaming services can be concluded: music streaming services have provided the means to recreate the distribution model, and to an extent have constructed a presumable sustainable business model that will hopefully prove to help bring our industry into accelerated fruition.  It should be noted though, that many of these music streaming services have received immense scrutiny on multiple media publications, most commonly providing a churlish commentary reprimanding an unjust ideology towards these services.  For some reason, it feels as if many have overlooked the fact that these streaming companies have entered an industry where most often than not, everything is working against you. It is extremely difficult to get record labels, music publishers, PRO’s, artists, let alone music consumers to accept any innovative model without some sort apprehension.  This on its own, makes it extremely difficult for any company to claim its space within the industry, and to evolve sustainably. With regards to music streaming services, all of them are heavily dependent on Record Labels, and Publishers as they hold the keys to the world’s music library catalogues. Their permission to utilize any song that is copyrighted and represented by such entities, restricts the ability for that music to channel any sort of lucrative revenue stream. Music streaming service companies are however trying to create a path where artists won’t need to be restricted, and won’t have to be conveyed in receiving such low royalty payments.

One particular streaming service though, that has unfortunately received a gratuitous amount of criticism through multiple media sources is Spotify. To date, most of the criticism alludes to the idea that Spotify is ripping artists off with its low royalty payments, functions under an unsustainable business model, and is currently stuck between battling off two tech giants who have always had a dominant foothold within the music industry: Apple and Alphabet (parent company of Google and thus YouTube).  With regards to Spotify’s royalty payments, the splits are dispersed according to contractual agreements.  For instance, Record Labels - who represent producers, performing artists, session musicians, and master recordings- keep 73% of royalties paid to rights owners by streaming services. This means that whatever is being collected by the labels, more often than not, the company keeps the majority stake, and the artists who are bound to whatever contractual terms they have set with their respective record label receive an incremental amount of that royalty split. Music Publishers on the other hand - who represent songwriters, composers, and musical compositions - are only subject to receiving 10% of royalties paid to rights owners by Spotify. That 10% is also split according to the terms of the agreement between the songwriter/composer and the Music Publisher.  It is no wonder that artists are furious with Spotify, but the issues that arise are still held within the agreements put in place between Labels, Publishers, and their clients (musicians). Contextually,, it could be concluded, that the culprit for such low royalty payments cannot be directly attributed to Spotify, it simply is just easier to blame Spotify. Spotify, as of now, has less then 20% of revenue collected to work with, making it extremely difficult to profit, and thereby imposing the reality as to why Spotify has not been able to turn a profit since its inception.  

To date, Spotify has received over $1 billion in financing with an additional $1 billion in debt financing in order to fulfill its IPO offering. This of course puts enormous pressure on Spotify.  For instance, once Venture Capitalist start investing, the company needs to proceed into making itself appear substantial, progressive, and most importantly lucrative.  Furthermore, the company has also had to compete with other businesses who already have a strong executive team working for a notoriously high salary.  In order to appeal to such professionals, Spotify has to compete with their salary.  This could be one way of justifying the reason why Spotify pays such hefty salaries to its employees - in order to be the best and compete with the best, you need to acquire the best, and sadly, nothing speaks better than money.  What’s more, is the fact that Spotify keeps getting attacked on its low royalty payouts.  There is no disputing that fact, however, when we take a look at YouTube, their payouts are just as low, if not lower. Further, the amount of revenue that YouTube receives annually cannot even equate to any other streaming service in the world - $9 billion in advertising revenue - but again, YouTube payouts to rights holders still remains minute. There has been several claims made by YouTube regarding a $3 billion payout to the music industry, but out of that $3 billion we do not know the time frame, nor how much of that money lands into the hands of the artists. This has been an ongoing issue that has been in place since the inception of our industry.

What must not be forgotten though is the fact that without Spotify, the current state of the industry would not be where it is today. Without Spotify, Apple would not have had the urge to rethink its iTunes store strategy and create its own streaming service. YouTube would have never indulged in its efforts to create its streaming service and to start compensating artists for their work. Yes, there have been many other notable companies that have entered this industry - Kobalt, Downtown Music Publishing, Song Trust, Pledge Music, to name a few - that have provided ethical, moral, business models but in terms of creating a viable means to distribute and access music, Spotify has been one of the frontrunners into making this become a reality for our world, and most notably solving the issue of piracy.  

So where are we at now? Apple Music has a growing user base of over 14 million and is in talks to acquire Tidal. The reasoning behind that is simple. For starters Tidal has one of the strongest artist backing, and if Apple succeeds in acquiring Tidal, it will have its golden ticket for exclusive artist releases which will include Kanye West, Beyonce, Daft Punk, Lil Wayne, Madonna, etc. The acquisition of Tidal could also potentially help Apple expand its user base, and put itself in line with Spotify.   With regards to YouTube, the streaming service still remains untouchable, and Spotify is still left to battle its way through the industry in order to keep itself afloat. These music streaming companies, regardless of competition, have one intention in common: provide unlimited legal access to the world’s sounds. However, in order to progress, and create a fair system where everyone can be fairly compensated, all intentions need to be aligned on all levels.  As of yet, this has not happened, and the services who are trying to create a sustainable system for artists, keep getting reprimanded, when in reality, we should be finding solutions, working together, and stop putting continuous blame on others. Moving forward, a probable solution could be either renegotiating antiquated contractual agreements, which more or less is impossible - reason being that Record Labels, and Music Publishers are adamant about their exclusive terms and deals, and show no interest in changing their approach to such deals.  Other solutions could be creating a transparent business model that is based off a minimum pay-out that musicians and composers perceive as fair.  However, we also have to take into account that each musician/composer is subject to their own opinion regarding fair compensation and creating a standardized system that fits a general conscious will prove to be challenging, but not impossible.  

In respons to this FORBES article:  http://www.forbes.com/sites/chrisversace/2016/02/26/music-publishers-are-once-again-looking-for-government-favors

I would like to urge publishers to "invest" in sustainable business models not in lobbyists. As opposed to squeezing more blood from a stone, you can come up with a healthy substitute:

Rewrite the contracts with your rightsholders. Oh, and make them digitally readable and available so 24/7 music licensing deals can be done by databases and machines. The only way to keep up with the (free) flow of content is by automating the licensing process.

Design, build and execute a full content distribution and licensing network so you are no longer in the back of the line at the major streaming media services. Their game is to “lease” access to content and collect valuable data in the process. Help them to help you (and your rightsholders).

Stop being afraid of transparency. What is the worst thing that can happen? The general public will find out your company made more money from lump sum deals, equity shares, IPO's and other non-royalty related deals. So what? Promise your rightsholders a new improved model and invite all to participate. Most companies who admitted their mistakes or apologize for the lack of transparency in the open, promised to change and did what they promised came out as strong winners.

Realize the music industry is a serious business but by far not the biggest of all industries. Most of the entities (Google, Amazon, etc.) bullied by the traditional music industry, can actually buy the music industry without blinking. Luckily, they have not shown any serious interest yet.

Companies like Google, Amazon but also newcomers like Snapchat understand the power of art and self-expression in the future of their communities. They facilitate future media makers, there is no need to "own" them. Leading a growing community is the new currency. 

And yes, I am fully aware your main sources of income today are the music catalogs of yesterday ($750M for the remaining Sony/ATV shares. wow !?) However, we all know owning a “big” catalog is no longer a guarantee for success (termination & reversion rights or new copyright laws like http://www.ipmc.nl/en/topics/new-copyright-contract-law-netherlands)

So. We need less lobbyists in Washington (and Brussels) and more senior music execs and their shareholders investing in healthy ecosystems. 

Back in the days, I considered myself one of the Dutch pioneers in 360 degree photography with a powerful Fujifilm camera and a 0-360 panoramic optic.

Today I am amazed how GoPro or 360fly cameras mounted on helmets, drones and bikes facilitate thousands of media makers to capture their adventures.

Most media makers and consumers brands know VR is the future, so the race is on to capture and create stunning videos, engage with big audiences on Facebook and YouTube.

Do the world a favor and publish your cool 360 / VR video content with cool music! Here is your discount code: VR360

You are capturing the most amazing stunts, scenery, events, wave rides. Pleeease, do the world a favor and add some really cool music to your 360 / VR video before publishing!

Two recent examples of videos that could have improved with our music: ThisBBC 360 video on Facebook is cool but the audio is BBC unworthy. Same here, a crazy 360 degree base jump in Dubai (sponsored by Red Bull?) but with too much wind noise. I turned off the video halfway. Shame.

We know music licensing for commercial videos is a pain so we are here to help. Check out http://pro.tribeofnoise.com , find the right music for your VR /360 project and apply our special discount code: VR360 before checkout.

More and more creators are choosing to share many of their works with the world without the traditional restrictions. We are proud to be supporters of Creative Commons. Free and open content creating more exposure, equity and access for everyone.

Have a look at these amazing achievements:

the State of the Comons (full report)

Press Release

This is so cool! Do you remember the days when restaurants, bars, retail outlets and hotels were playing that horrible elevator music? Those days are over! 

Business owners can gear up with Sonos and connect one of the in-store music services powered by Tribe of Noise.

Instant access to rights-included, high quality music streams (pro curated music stations) and many, many compilation albums to create your own custom playlists. 

And you know what? The participating Tribe of Noise artists will get their fair share of the subscribtion revenue Tribe of Noise is generating. The more stores we connect, the more we pay to these up and coming artists. 

Win, win and win. Lovin’ it!

Building a global In-store Music Service with you!

To: in-store media providers, telecom operators, managed hosting and cloud service providers. We are on a mission to rethink business models in the music industry. Empower talented artists around the world. Help them to gain exposure, reach a variety of different audiences and make money.

If you are interested in scalable high ARPU cloud services with a low churn rate... Hi! Let me introduce Tribe of Noise's In-store Music Service ;-)

Industry Expert: Gary Platt

“The Tribe of Noise PRO contributions provide a very high quality selection of music for just about any desired mood, spirit and timing for visual editing.  It's my go-to especially when music is required that doesn't sound “stock”, but has a more personal, artistic quality about it in general that works better.  And hey, I feel great helping to support the emerging artists with the Tribe, too!”

Amsterdam, 15 januari 2015 @ 6pm

De zakelijke rechten-inclusieve muziekdienst Tribe of Noise, in Nederland onder andere bekend van KPN’s Muziek Online Zakelijk, is vanaf vandaag ook beschikbaar op Sonos draadloze HiFi systemen. Daarmee creëert Tribe of Noise een unieke muziekbeleving voor bedrijven en hun klanten. Het wereldwijde bereik van Sonos biedt de 25.000 artiesten, aangesloten bij Tribe of Noise, een nieuw podium en verdienmodel.

Na de introductie van nieuwe Europese regelgeving en de reactie van Buma/Stemra om hier direct gehoor aan te geven is het per 1 januari, ook als Buma/Stemra-lid, mogelijk repertoire onder te brengen bij Tribe of Noise. 

Tijdens het jaarlijkse muziekfestival Eurosonic Noorderslag, deze week in Groningen, zal medeoprichter Hessel van Oorschot de samenwerking met Sonos en het verdienmodel voor rechthebbenden toelichten.

One image says more than thousand words:

This Friday, Jan 16, I have the honor to participate in a few sessions during the annual music industry conference Eurosonic Noorderslag #ESNS15 in Groningen, The Netherlands.

This event attracts roughly 3200 music industry professionals and more than ever will focus on future business opportunities, building bridges and showcasing exciting technology. All in favor of singer songwriters, composers and other musicians. Helping them to maximize revenue & exposure.

Let's kick-off 2015 and make some NOISE!

Some of the sessions you might want to check out:

http://www.eurosonic-noorderslag.nl/nl/conference/panels/panel/356-music-platforms-perspective-on-the-future-of-copyright/

http://www.eurosonic-noorderslag.nl/nl/conference/panels/panel/380-the-future-of-alternative-rights-management-models/

It is not a secret that I am a big fan of SONOS, the wireless HiFi system. This is one of the reasons why my team at Tribe of Noise, has developed a music service for SONOS devices. How will businesses, our target audience, benefit?

By hooking up a SONOS CONNECT to the internet and your existing business audio system it will transform into a (mobile) app controlled, state of the art streaming music system.

By subscribing to one of our Tribe of Noise music services for businesses (available in the SONOS application that comes with the CONNECT) we will make sure you, your staff and clients will hear 100% original and modern music, scheduled and updated by our own pro music team.

Did we already mention the music is all rights included? You no longer have to pay royalties to performance rights organizations. Instead, Tribe of Noise has developed an artist-friendly ecosystem paying the rights holders a fair revenue share. If we make money, so will they! Probably one of the reasons why we've already welcomed 25,000 musicians so far.

More? http://sonos.tribeofnoise.com

Already bought a CONNECT? Here is a short manual to get you started: http://issuu.com/music-manuals/docs/manual_sonos_connect_-_tribe_of_noi