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When will you enjoy a Cold Plate system in a boat

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As expected, the electric cold plate system is the most common application of cold plate technology. The idea of a cold plate system is to get items Cold over a long period with a very short power supply. This is the downside of most freezers or refrigerators. When you have your freezer in your home, you may want it to perform excellently well without any power supply. The reason for this may be because of the inconsistency in the power supply of the environment. Or it is also possible that you are planning to reduce the amount you pay for energy bills. Regardless, you have a plan to keep your freezer foolish without a power supply. That is the reason the innovation of the cold plate system is more common in freezers – because it is solving a direct problem. However, the cold plate system is not only applicable in the freezers. The refrigerating system is only one of the diverse ways you can apply the technology.

One of the most common ways to apply this technology is in the boat. As a Fisherman, naval officer, and someone who works on oil rigs, you have to spend a lot of time on the sea. The sea is not like the land where you have stores around where you can get supplies and groceries within a click. And most times, you may spend many months on the sea. That means you will need more than enough supplies. Since there is no direct electricity, the cold plate system is a good option. However, there are other options, and the cold plate system may not exactly be the best option. This article will help you determine when the cold plate system is best for you. Here, we will explain how you can enjoy the cold plate system.

When you buy a well-designed cold plate system

The main idea of the cold plate system is to ensure you have your cold refrigerating system in record time. This depends on the liquid in the cold plate and the electricity supply. However, the design of the Cold plate will ensure that the device temperature will stand the test of time. Cold Plates are usually designed with metals like aluminum, copper, or stainless steel. The shape and size of the cold plates are highly determined by the shape of the refrigerator box.

When you have battery limits

Another time you will enjoy your cold plate technology is when your battery bank is not in supply. That means you already take two hours to charge your battery full daily. That single charge will be enough to power your batteries enough to keep it running. If you have large batteries, you will most likely not enjoy the cold plate system.

You have enough power supply

The goal of cold plates is to ensure you can use a refrigerating system without a direct power source. However, the cold plate will not get cold magically. You need a power source great enough to ensure that the cold plates are cold. The power source will be necessary every day, and it should be able to run interrupted for at least two hours.

TuneCore launches service for DIY artists to distribute music to social platforms like TikTok and Instagram

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The power that fans on social media platforms like TikTok have to turn viral tracks into global hits has been proven time and time again.

Now, Believe-owned DIY digital music distributor TuneCore says that it wants to “facilitate” that discovery and virality for independent artists.

The company has introduced a new service for artists to distribute their music directly into the music libraries of social media platforms including TikTok, YouTube, Facebook, Instagram, and Reels.

Dubbed ‘Social Platforms’, TuneCore says that its new service is “a first of its kind,”  whereby artists can distribute their music to social media networks “as a pre-step” to releasing music to streaming and download platforms.

There’s no upfront fee for the new service, but TuneCore will, however, participate in what it calls a “small share of revenues” generated by the tracks on the platforms. MBW understands that artists get to keep 80% of revenues, which means that TuneCore takes a 20% cut.

Once songs gain traction, according to TuneCore, artists can then distribute their music through its platform – where the company’s upload fees apply – to over 150 stores and streaming platforms worldwide.

In a media statement announcing the news, TuneCore notes that “When an artist posts a video of a new song directly on their social channels, they may get views and followers, but their music is not easily accessible for other creators to use in their posts and the artist does not generate revenue”.

By distributing their tracks through Social Platforms, and with those tracks being made available in the social platform’s libraries, TuneCore says that there will be more “virality opportunities” for their music, in addition to “monetizing their art immediately”.

TuneCore cites artist Charlotte Sands as a case study of how a viral track can lead to broader success. According to TuneCore, in November of 2020, Sands posted a demo of her song Dress, which went viral on TikTok.

Sands then released the song a few days later, and Dress was featured on multiple Spotify playlists including New Music Fridays, Teen Beats, New in Pop, Fresh Finds Pop, and she was the cover artist for that week’s Fresh Finds playlist.

Currently Sands has over 1 million monthly listeners on Spotify, with Dress hitting 11 million streams. The original video on TikTok has 1.3 million plays.

Sands is signed to TuneCore’s parent company Believe and released a new EP earlier this fall. The rest of this year sees her on tour as the opening act for Yungblud. “All of this happened in less than one year and all because she posted a demo on TikTok,” says TuneCore.

“I am looking forward to the day when we will be able to announce the first DIY indie creator has become a No.1 charting artist.”

Denis Ladegaillerie, Believe

Speaking to MBW, Denis Ladegaillerie, CEO of Believe, said:  “Innovation on behalf of artists is what drives Believe and TuneCore, as we shape the future of music on a global level.

“With this offering of distribution directly into the music libraries of social media platforms, we are providing a solution for the millions of new music creators around the world to facilitate discovery and virality of their creations at no upfront cost.

“I am looking forward to the day when we will be able to announce the first DIY indie creator has become a No.1 charting artist.”

“TuneCore is not only enabling indie artists to connect with fans, and viral moments, we’re helping them to monetize those interactions.”

Andreea Gleeson, TuneCore

Andreea Gleeson, Chief Executive Officer, TuneCore, added: “In the past few years, social media platforms like YouTube, TikTok, Instagram and Facebook have become the first stage for music discovery, providing a new way for music creators to start building audiences and accelerate discovery and virality.

“With the launch of distribution to Social Platforms, TuneCore is offering a one-stop solution for artists to release and monetize their music on key social media platforms with no-upfront fee to provide an easily accessible launchpad for creators.”

“With social media, there are no gatekeepers, the fans decide what they like and what goes viral. As fan behavior and music discovery changes, artists need to pivot as well.

“TuneCore is not only enabling indie artists to connect with fans, and viral moments, we’re helping them to monetize those interactions.”

 Music Business Worldwide

Warner Music Group stock slides 9.7% in two days as Bank Of America cuts rating… but WMG is still worth over $25bn

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You know what was particularly significant about Warner Music Group‘s calendar Q3 / fiscal Q4 results, announced yesterday (November 15)?

They covered a quarter (July-September 2021) that arrived a full 10 years after Len Blavatnik’s Access Industries acquired the major music company for $3.3 billion (in July 2011).

Comparing Warner then to Warner now is a fun exercise: for example, at $5.30 billion, 2021’s FY revenues at WMG (across all divisions) were nearly double the size of 2011’s equivalent FY number ($2.87 billion).

The same is true for WMG’s annual recorded music figure ($2.34bn in FY 2011 vs. $4.54bn in FY 2021).

But it’s the valuation growth at Warner that is the most astonishing narrative since back then.

At the close of last week, WMG’s enterprise value stood at $27.81 billion, according to Ycharts data.

That’s nearly nine times bigger than the $3.3 billion Blavatnik paid for the music company a decade ago.

Even taking into account the hundreds of millions of dollars Warner spent to acquire Parlophone in 2013, it’s a stunning increase.

Now, in the wake of Warner’s latest quarter results, one major Wall Street analyst is suggesting it might be a bit too much of a stunning increase.

Bank Of America (Bofa) has today (November 16) cut Warner’s rating not once but twice, from ‘Buy’ to ‘Underperform’.

Bofa analyst Jessica Reif Cohen has lowered her price target for the company to $42, which is less even than WMG’s current stock price of $43.64.

Reif Cohen argues that Warner’s share price has bounced up off a number of key events this year – including Spotify raising prices in certain markets, and the growth of ‘alternative’ revenue streams for WMG such as Peloton and Roblox.

There may not be as many “near-term catalysts” for Warner’s price to keep on bouncing up in the future, suggests Reif Cohen.

Her main reason for pessimism, however, is the degree to which Warner’s share price has already rocketed since Universal Music Group floated on the Amsterdam stock exchange in September.

As we covered on MBW the other week, Warner’s enterprise value shot up by more than $4 billion in a single month following Universal’s listing. That increase was thanks to UMG’s $50 billion-plus public market cap in Amsterdam… and the obvious similarities between the two companies.

According to Seeking Alpha, Reif Cohen’s note further suggests that Warner may face headwinds from tough comps for ad-supported streaming. Plus, she says, 2021 may bring a shift in revenue mix for WMG towards lower-margin income sources that were suppressed during 2020 lockdowns (particularly physical music sales).

She also suggests that Warner may have to make investments over the coming year (e.g. in A&R and catalog acquisitions) that will significantly reduce the firm’s free cash flow.

Reif Cohen / Bofa’s rating cut on WMG is in contrast to other leading analysts such as Guggenheim’s Michael Morris, RBC Capital’s Kutgun Maral, and Morgan Stanley’s Ben Swinburne, all of whom have retained a ‘Buy’ rating on Warner stock this week.

Jessica Reif Cohen has form being bearish on the music rights business: Back in 2007, a year before Spotify’s launch in Europe, Reif Cohen – then a Merrill Lynch analyst – teamed with now Barclays-analyst Julien Roch to write an influential research paper that the Hollywood Reporter summed up as being “a sour note for the music biz”.

At the time, Reif Cohen said she didn’t consider Warner Music Group’s valuation “to be attractive at these levels and continue to prefer entertainment names with a clearer growth outlook and/or company specific catalysts”.


The news of Bofa’s rating cut helped to send Warner Music Group’s share price down by 3.77% on the New York Stock Exchange during trading today.

That drop followed another day of declines yesterday (November 15), as the markets punished WMG for failing to hit analyst earnings expectations in its fiscal Q4 results.

Warner’s stock closed down 6.2% yesterday as a result, meaning that in the past 48 hours, Warner has seen its share price – and its company valuation fall by 9.7% in total.



That 9.7% decline has wiped around $2.5 billion off Warner’s enterprise value, a figure which stood at $27.81 billion on Friday (November 12) evening.

Still, Warner’s EV remains north of $25 billion this evening… and is currently worth about eight times what Len Blavatnik paid for the company a decade ago.Music Business Worldwide

‘The music industry can feel like playing the lottery for musicians. But those building communities on Twitch are getting rewarded.’

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It’s no secret that some Twitch streamers are making a lot of money on the platform.

This was highlighted, albeit unscrupulously, by alleged hackers last month when a list revealing those Twitch creators earning millions of dollars leaked on a 125 gigabyte torrent file.

The platform’s revenue-generating potential for musicians specifically was made clear back in April by Twitch itself.

Twitch teamed up with former Spotify Chief Economist Will Page on the Rockonomics report. It claimed, as Tracy Chan, VP, Head of Music at Twitch, explains, that “artists can monetize three to 15 times [their income from] other streaming services on a per-hour basis” on Twitch.

Now, Twitch has announced that it is launching a livestreaming incubator program for artists, in partnership with DIY distributors like DistroKid and UnitedMasters. This comes against a backdrop of a booming indie artist sector.

So should record labels be worried about Twitch’s potential to offer artists an alternative to a ‘traditional route’ to market?

Speaking to MBW, Twitch’s Tracy Chan calls the platform’s new incubator program “part of our ongoing efforts to invest in music, help innovative music creators build their communities, help them earn money and build successful careers on Twitch”.

Chan, who joined the Amazon-owned live-streaming platform from Spotify last year, calls Twitch an “amazing opportunity for musicians to really connect and interact with their fans”.

“We’re seeing incredible monetization when artists really lean forward to build communities,” he says.

Via its new incubator program The Collective, Twitch will also work with partners such as: Amazon Music; instant messaging and digital distribution platform Discord; Rolling Stone; and UnitedMasters to “source, educate, and highlight” musicians on the platform.

An application to join the incubator is open to the public and Chan also tells MBW that DIY distributors DistroKid and UnitedMasters “will help [Twitch] identify talent from promising artists who use their services”.

After graduating from the incubator, Twitch says that artists will receive ongoing support and investment, and will also be prioritized for discovery opportunities, promotion, live activations and more.

To put the weight of being promoted to Twitch’s vast audience into numerical context, according to TwitchTracker.com, the platform attracted 2.7m concurrent viewers on average in October and has, in total, seen 1.289 billion minutes of content watched on its platform so far this year.

The launch of the program comes at a time when Twitch appears to be making significant strides in the music industry, striking its first major label partnership with Warner Music Group in September, as well as a deal with the National Music Publishers Association that same month.

It would be remiss not to note however, that these deals, and indeed the new incubator program, follow various music-related copyright issues faced by Twitch over the past couple of years due to music being played in the background of on-demand videos.

Nonetheless, Twitch, still not fully licensed, is getting closer and closer to the music business and its artists.

Here, Tracy Chan tells us about the livestreaming platform’s new artist incubator program, his response to critics of the platform, and Twitch’s objectives for the future…


THE COLLECTIVE IS AN ARTIST INCUBATOR PROGRAM. WHAT EXACTLY DOES THAT MEAN?

The Collective really is a three-pronged program. First, we have ‘Invite Only’ collectives. We will be inviting select musicians to join exclusive collectives, based upon complementary backgrounds and genre and career stages.

So they can work and learn together to maximise and monetize their time and community on Twitch. We see this as no different than a lot of collectives [that] musicians join today to help with creativity.

“Once we have created these collectives, we will help [artists] learn the livestream playbook for music.”

Once we have created these collectives, we will help [artists] learn the livestream playbook for music. They will be getting help and advice and support directly from the Twitch Music team, along with top industry partners and mentors who will guide each member of the collective in navigating the new world of streaming.

[They will also] teach them how musicians are building these live interactive communities and monetizing their fans directly, which again, is this new medium for musicians.

Once members graduate from The Collective, they will get ongoing Twitch investment and support.

As each of their channels progresses, they’ll receive support in the form of prioritized discovery opportunities, promotion, and live activations from some of our partners like Rolling Stone.


CAN WE EXPECT MORE ANNOUNCEMENTS OF PARTNERSHIPS, perhaps WITH MAJOR RECORD COMPANIES, IN THE NEAR FUTURE?

We’re talking with all of our partners actively, so nothing to announce right now. But you can expect to have more in the future.


Credit: Caspar Camille Rubin

YOU MENTIONED PART THE PROGRAM WILL INCLUDE TEACHING ARTISTS HOW TO EARN MONEY FROM THEIR FANS DIRECTLY. HOW MUCH OF AN UNTAPPED OPPORTUNITY DO YOU THINK DIRECT MONETIZATION IS FOR ARTISTS, PARTICULARLY IN THE CONTEXT OF TWITCH BUT ALSO GENERALLY IN THE MUSIC INDUSTRY?

There’s a couple of interesting facets to that. Earlier in the year, we partnered with Will Page to understand the economics of Twitch relative to other sources.

What his findings were, were that on Twitch, artists can monetize three to 15 times that [of] other streaming services on a per hour basis. So there’s the actual opportunity to monetize on Twitch directly from your fan base.

One of the metrics that we track is how many artists are making $50,000 or more per year. We look at the median concurrent audience for those artists [on Twitch]… and it’s 183 fans. Contrasted with tens of millions of streams on a music streaming service.

“From January 2020 to February 2021, in the core pandemic months, the number of artists making $25,000 or more [on Twitch] grew 1,635%.”

There is a massive potential to earn quite a bit of money with a core passionate fan base. That’s a lot of what this program is about: How do you build that community? How do you interact with them in order for them to show you that support?

What we’ve seen, and why we were inspired to create The Collective is that from January 2020 to February 2021, in the core pandemic months, the number of artists making $25,000 or more [on Twitch] grew 1,635% so we know that there is a really big opportunity.

We see Twitch as an opportunity to engage your fan base and make real money. We think that there’s a huge potential for artists. And again, it’s all about interacting with the fans and building a community. What we’re seeing on Twitch is, passion trumps scale.


DO YOU WANT TO GET TO THE POINT IN THE FUTURE WHERE TWITCH IS SEEN BY EMERGING ARTISTS AS THE PLATFORM TO TRY TO BREAK GLOBALLY?

First and foremost, Twitch is actually great for any size artist. There’s artists like T Pain and he was really leveraging Twitch for monetization specifically and to be able to connect and get to know his fans.

We have a lot of large artists who are on here, not only to interact with their fans, but create as well. We have Mike Shinoda from Linkin Park. He created three EPs with his community. Ultimately, artists have different goals and depending on what the goal of the artist is, Twitch really has a place there.

When it comes to emerging artists, we do think that there is a huge potential to have Twitch as a place where you can start to build and hone your craft and build your community. It can be a launching off point.

There’s a lot of opportunity for artists on Twitch if they don’t want to go down the traditional route. You know, ‘I’m trying to get signed, I try to get on playlists and try to go on tour”. Like, that is an awesome path, but it’s really limited to the few.

Again, the median concurrent audience, for those making $50,000 or more is 183 fans. Being able to earn money from something that you love just gives you options in your career. Whether it’s making Twitch the centre of it, or making Twitch a part of it, ultimately, community and monetization give artists options.


WE’VE BEEN COVERING TWITCH FOR A FEW YEARS NOW AND MUSIC IS OBVIOUSLY A VERY STRONG FOCUS FOR your. YOU’VE RECENTLY SIGNED A DEAL WITH WARNER MUSIC GROUP AND YOU’VE EXPLAINED YOUR MUSIC STRATEGY, BUT WHAT WOULD YOU SAY TO CRITICS OF THE PLATFORM WHEN IT COMES TO COPYRIGHT ISSUES THAT TWITCH HAS HAD TO DEAL WITH IN THE PAST?

The really important lesson, especially over the last year, is that Twitch is something new, and it’s something that the industry and artists are getting familiar with.

This is what the Collective is largely about. It’s helping artists specifically understand what the possibilities are. What are the opportunities to get to know your fans, to build a community, to monetize directly.

We see this as an evolution of the music industry where it’s: “I’m uploading my music to a place and then maybe I get placed on a playlist and maybe I get a royalty check at the end.”

“Right now, the music industry can feel like playing the lottery for musicians. What we’re seeing is musicians who put in the work, who are innovative, who are building communities [on Twitch], they are getting rewarded.”

Right now, the music industry can feel like playing the lottery for musicians. What we’re seeing is musicians who put in the work, who are innovative, who are building communities [on Twitch], they are getting rewarded.

To answer your question, we really believe in this world.  We’ve seen the proof points in all the artists who are being very, very successful.

We’ve been working with our partners to help them understand the opportunities that they can have, leveraging this Twitch audience that just loves music, that want to support their favourite creators, and can actually create quite a bit of opportunity for artists, labels and publishers alike.


IS THE HOPE IN THE FUTURE TO BE A FULLY LICENSED SERVICE?

We’re continuing to talk with rightsholders and like you mentioned, we struck a deal with Warner Music Group. We struck a deal with the NMPA.

“We’re doing partnerships in ways that really make sense for our service. And there isn’t a lot of precedent for it.”

What we think is really important is that we’re doing partnerships in ways that really make sense for our service. And there isn’t a lot of precedent for it.

Most services out there are video-on-demand and they have certain structures. We are a live service. We have core monetization, we have live interaction.

How our platform functions is very different than other services. That’s the progress that we’ve been making with these industry groups.Music Business Worldwide

CTM Outlander buys music rights from Grammy-winning songwriter Natalie Hemby

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Earlier this year, Dallas-based investment firm Outlander Fund and Netherlands-based CTM BV launched a strategic alliance to acquire music publishing and master rights.

The new venture, CTM Outlander Music LP, said that its ambition is to invest $1 billion in copyrights over the next five years.

Today (November 16), CTM Outlander has announced that it is buying what it says is the “music rights [covering] the last decade” from Grammy award winning songwriter Natalie Hemby, and is also entering into an exclusive publishing deal for her future compositions.

The catalog consists of 189 released songs, 26 unreleased songs, 8 No.1 songs and 26 past or current singles.

Hemby has written eight No.1 hits for country superstars such as Lady A’s Downtown, Little Big Town’s Pontoon and Tornado, Miranda Lambert’s White Liar, Automatic and Bluebird, Jon Pardi’s Heartache Medication and Justin Moore’s You Look Like I Need A Drink.

She co-wrote global hits like Always Remember Us This Way as recorded by Lady Gaga and I’ll Never Love Again by Lady Gaga & Bradley Cooper, part of the blockbuster movie A Star Is Born.

Kelly Clarkson, Kacey Musgraves, Sheryl Crow, Lady A, Chris Isaak, Blake Shelton, amongst others have recorded her songs.

Hemby also co-wrote the track Love In Slow Motion, which features on Equals, the new album from Ed Sheeran, which entered at No.1 in nearly all album charts throughout the world.

New releases by Alicia Keys can also be expected soon, according to CTM.

Hemby was nominated for two 2021 Grammy Awards for Best Country Song for Bluebird by Miranda Lambert and Crowded Table by The Highwomen, which took home the Grammy Award.

“This is a career milestone for me and I’m sincerely grateful for this opportunity.”

Natalie Hemby

Natalie Hemby said: : “It is an honor and a privilege to be working with CTM Outlander Music. They have a worldwide influence and are deeply respected across the globe.

“I’m excited to represent them within the Nashville circles, as well as expand my songwriting circles. This is a career milestone for me and I’m sincerely grateful for this opportunity.”

“We love Natalie’s work and she has been a pleasure to work with. We are excited about our future together.”

Leslie Ware

Leslie Ware: “We love Natalie’s work and she has been a pleasure to work with. We are excited about our future together.”

“When we came in contact with Natalie, we immediately felt that this is the right match for us.”

André de Raaff, CTM

André de Raaff, CEO of CTM Outlander, said: “We have often looked with great interest at Nashville writers and catalogs but never found the right fit for us.

“When we came in contact with Natalie, we immediately felt that this is the right match for us. A great catalog and a gifted outstanding writer with the skills and potential to write for the greatest artists in the world.”Music Business Worldwide

Curve Royalty Systems launches into the US, names Sam Spainhower as head of operations in the market

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Curve Royalty Systems, a London-based music technology company, is expanding into the US with a new office in Los Angeles, which will serve as a base for its roster of clients.

Curve Royalty Systems was launched in 2019 by former ADA/Warner, Cooking Vinyl and Essential Music executives, Richard Leach, Ray Bush and Tom Allen.

The company has also appointed Sam Spainhower, a music royalty specialist, to oversee its US operations.

Spainhower will report to Richard Leach, General Manager of Curve Royalty Systems.

Spainhower joins the company from NKSFB, where he worked with performance rights organisations, record labels and publishing companies.

The announcement comes after Curve expanded its roster of clients in New York, Nashville and Los Angeles.

The company says its royalty platform was “built to deal with the scale and demands of music businesses in the digital age and now processes billions of lines of data for its clients”.

“Curve Royalty Systems has enjoyed significant growth in recent times.”

Richard Leach

Richard Leach, said: “Curve Royalty Systems has enjoyed significant growth in recent times with more and more demand for our services coming from US based music companies.

“With that in mind our new Los Angeles office will become a dedicated hub for that activity.

“Sam Spainhower has come on board to oversee our US operations and to apply his experience, energy and local knowledge of the market and the processes required to deliver a world class service.”

“Curve Royalty Systems is one of the leading providers of independent royalty solutions for the global music industry.”

Sam Spainhower

Sam Spainhower, added: “Curve Royalty Systems is one of the leading providers of independent royalty solutions for the global music industry with a fast expanding roster.

“I’m looking forward to responding to the increasing demand for its services and to being part of its growing presence in the US.”Music Business Worldwide