MXP4 community : moving music forward !

Via Scoop.it – Social Music Gaming

… Companies such as Zygna and MXP4 have already proved that music games in Facebook are certainly a popular means of engaging audiences and it would be wise for labels to consider how best to extract revenues from this colourful new medium in the near future. Licensing is of course the first option here but it’s also possible that social music platforms, especially when combined with virtual currencies such as Facebook credits could offer an effective means of selling tracks, for instance as soundtracks to music games like Nightclub city, as well as gig tickets and merchandise. With both Facebook and Google, who have recently introduced gaming to Google+, both focussed on developing their own music offerings, there could also be an option of a potentially useful integration between social gaming and music services on the table in the next few years too. … Read more
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Via Scoop.it – Social Music Gaming

Brief:The SUBWAY®chain is launching an integrated marketing campaign today (Wednesday 27th July) to promote their latest Sub – The SMOKIN’ BBQ CHICKEN TEMPTATION®This is supported by a multi-platform, customer-centric media campaign running across TV, Spotify, Twitter and Facebook. Everything down to the ingredients, which were voted by customers via the chain’s SUB CARD® loyalty programme, to the online participation tools have been designed to garner greater customer engagement.The Sub is an extension of the premium CHICKEN TEMPTATION® Sub launched last year. It’s the perfect summer Sub with crispy bacon, a breaded chicken breast fillet topped off with a new southern style BBQ sauce. This new sauce is something that has been brought to life through the themes and music of the new campaign. The 20 second TV commercial set in the deep south, features an engaging and energetic quartet of musicians playing at a barn dance, only the instruments they are playing are Subs! In a modern twist, it introduces beat-boxing into the harmonica music, bringing the world of deep south American flavour firmly into the fun and modern world of SUBWAY®. You Tube sensation Yuri Lane*, famous for his musical fusions of harmonica and beat boxing, scored the music and appeared in the advert.As well as the 20 second commercial SUBWAY® stores have created an extended two minute music video hosted on Facebook and supported by Spotify. In a first for SUBWAY® and showing innovation in this relevant space, audiences will also be able to create their own re-mixes of the soundtrack on a bespoke ‘SUB-BEAT Sequencer’ using the mxp4 platform. This audience participation will in-turn interface with the SUBWAY® stores Facebook page where fans can view full music video content and share with friends. Once people interact via the online platforms they can enter a prize draw as well as download vouchers for the SMOKIN’ BBQ CHICKEN TEMPTATION® Sub redeemable in store. The redemption of these QR-coded vouchers offered exclusively via online participation tools will allow SUBWAY® stores to assess the in-store traffic driven by social media.
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Via Scoop.it – Social Music Gaming
Facebook Music Marketing: Pages, Feeds, Games Your voteYes NoEvent Music 2012Format PanelOrganizer Josh Constine – Inside FacebookSpeakersJ Sider – RootMusicMike More – Headliner.fmMeredith Chin – FacebookAlbin Serviant – MXP4Description Musicians are adopting Facebook as a core component of their online marketing strategy as the importance of Myspace fades. But which of Facebook’s social channels should artists focus on? Facebook Pages, the news feed, or social games? Several companies such as RootMusic have sprung up providing Myspace Music-style band profile apps, but fans don’t often visit the Facebook Pages of musicians where they’re hosted. Headliner.fm has focused on helping bands gain exposure in the news feed, but record labels to see a direct return on investment, not just a bigger audience. MXP4′s Bopler Games and other developers are now selling songs in social games, but do enough people play them to make deals with game companies worthwhile? Heads of these companies will debate which of these channels is most important, and we’ll discuss how bands can tie the channels together to conduct successful marketing campaigns that don’t spam Facebook’s users.QuestionsAnsweredWhich Facebook social channel provides the most potential exposure for a musician?Do music-based social games have enough players to make deals with them worthwhile for musicians?Which channels allow musicians to make money directly from Facebook?Could formal or informal partnerships between developers of Page apps, news feed distribution tools, and social games make it simpler for bands to promote across Facebook’s social channels?How can musicians aggressively promote across Facebook’s social channels without being perceived as spammy?Level IntermediateSupporting Material An overview of the current music solutions on Facebook: http://www.insidefacebook.com/2011/05/02/music-on-facebook-spotify/Category Social MediaTags distribution, Facebook, marketing
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Via Scoop.it – Social Music Gaming

Well, we kinda know what “VidRhythm” is now. Chatting with Gamasutra about the mysterious trademark spotted by Internet sleuths earlier this July, Rock Band creator Harmonix confirmed that VidRhythm is a real project and it’s coming to iOS soon-ish. It also divulged that it’s more app than game, but stopped short of delivering mechanical or system-level details. Neat. “It will actually be our first iOS release as a studio, coming out relatively soon,” Harmonix CEO Alex Rigopulos said in the interview. “I can’t say anything yet about what it is, but in parallel with all these huge console game productions we have underway, we’re commencing our first iOS development project.”
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Via Scoop.it – Social Music Gaming

We’ve covered freemium mobile games a fair bit in recent months, because there’s been a lot of interest from music industry companies in how that model is working, and what lessons might be learned for this industry. So, here’s some more research from mobile analytics company Flurry, based on 57 million in-app purchases in the freemium iOS and Android games that its technology is used in. It finds that 68% of money spent on virtual goods in these games is for ‘consumables’ – virtual items that they don’t keep, or more often than not, virtual currency that is spent within the game. 30% is spent on ‘durable’ items that players keep, and only 2% is spent on personalisation features. “While the consumer is indeed purchasing virtual items that are most often consumable, what’s most important to understand is the psychology behind these games,” notes Flurry. “In freemium games, consumers are experiencing compelling, immersive entertainment. They feel gratified when they progress, accomplish goals, create a unique world, and in some cases, show off to their friends. In exchange for this gratification, they are willing to spend real money, and lots of it.”Source: Flurry – http://tinyurl.com/3ncxzdo
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Via Scoop.it – Social Music Gaming

Social media games have everything to do with social networking platforms. That’s why games on Google+ was a sure thing; it was only a matter of time. Have you had a chance to play any, yet? The official blog for the company says: “Today we’re adding games to Google+. With the Google+ project, we want to bring the nuance and richness of real-life sharing to the web. But sharing is about more than just conversations. The experiences we have together are just as important to our relationships. We want to make playing games online just as fun, and just as meaningful, as playing in real life.”   More to read …
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Via Scoop.it – Social Music Gaming

One thing that never ceases to amaze me is how similar some of the metrics are from service to service and company to company. I like to call these the web/mobile laws of physics. One fairly common “law of web/mobile physics” is the ratio of registered users/downloads to monthly actives, daily actives, and max concurrent users (for services that have a real time component to them). I call this ratio 30/10/10 and so many services that we see exhibit it within a few percentage points here and there. Here’s how it works: 30% of the registered users or number of downloads (if its a mobile app) will use the service each month 10% of the registered users or number of downloads (if its a mobile app) will use the service each day the max number of concurrent users of a real-time service will be 10% of the number of daily users
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Via Scoop.it – Social Music Gaming

With the impending Zynga IPO, the Facebook games space has perhaps never been so hot. But is it a real business? Is it all played out? Can you still make money from Facebook games? In a word: yes. We spoke to industry insider Mathieu Nouzareth, who co-founded not one but two successful Facebook games companies, one of which is publicly traded in Paris. “I think it’s still the best startup opportunity. I don’t know any other online market that allows for this kind of growth and profits. Not even the iPhone,” he said. “It’s a dream business.” Read more: http://www.businessinsider.com/how-to-make-millions-from-facebook-games-2011-7?utm_source=Triggermail&utm_medium=email&utm_term=Business%20Insider%20Select&utm_campaign=BI_Select_072811#ixzz1TU0Yf9eC
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Via Scoop.it – Social Music Gaming

Landmark deals between record labels and developers have signalled a tipping point for social and mobile gaming. The market has moved from a promotional platform to become a potentially important revenue stream for the music industry. Sony Music and EMI have both recently struck direct deals with developers to sell tracks within games, taking the sector’s commercial potential far beyond the retailing of virtual goods. EMI was the first label to offer tracks within MXP4’s range of Bopler titles on Facebook. More than 200 tracks were available globally within the games at launch and MXP4 aims to have 1,200 songs by the end of this year. The games were adapted to complement each of the licensed tracks and, even though there are elements which follow a template, there have been associated development costs for each track incorporated into a game. Initial steps have been cautious, partly because the revenue model is granular meaning that deals only make sense when they hit scale. But, the ambition is bold. “The first milestone before the end of the year will be to reach three to four million monthly active users of the Bopler games,” says MXP4 CEO Albin Serviant.
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Via Scoop.it – Social Music Gaming

Some games don’t become instant hits right after launch. Such was the case with Monster World, a farming game developed by wooga and launched in April 2010. wooga is the 2nd largest developer of social games on Facebook. And Monster World is wooga’s most successful title today, growing virally and monetizing well with over 1.6 million daily active users.
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