Decentralized Music Streaming Platform Audius part of study that reveals a thriving worldwide audio market

2 min read

Despite suffering a hacker attack recently, Audius are part of a slew of crypto music companies thriving as digital innovation and an artist preference for growth through community continues.

Research publication by Advance Market Analytics on the Worldwide Crypto Music and Audio Market has been added, providing deep dive analysis of market data across major business segments and geographies. The study is a perfect balance of qualitative and quantitative information on the Worldwide Crypto Music and Audio market. Data for historical (Volume** & Value) market sizes, estimated and forecasted through 2026*, are presented in this report. Among the key and emerging players covered and profiled are Digimarc (United States), Vezt Inc. (United States), Mediachain (United States), Open Music Initiative (United States), Musicoin Foundation (China), Mycelia (United Kingdom), Viberate (Slovenia), Blokur (United Kingdom), eMusic (United States), and VOISE (Canada).

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Crypto is a form of payment that can circulate without the need for a central monetary authority including a government or bank. Crypto music is the use of non-fungible tokens (NFTs). Indeed, it was the first album to be released as a non-fungible token, an emerging digital collectible technology revolutionizing the art and music industry. It is the first truly major example of what many in the industry are rising to as crypto music and audio. A non-fungible item is a unique digital asset that is not interchangeable. The crypto music and audio NFT could encompass anything from an album, song, piece of merchandise. An NFT is a rare item that is recorded on a digital ledger in the music and audio industry. It making some serious waves in the artistic industry, with the new music niche gathering

The titled segments and sub-section of the market are illuminated below:

by Type (Audio, Visual and Image Content), Application (Games, Videos, Media, Others), End-Use Verticals (Artist, Music Streaming and Sharing, Musician, Game Developers, Others), Platform (Aurovine, Audius, XSongs, Emanate), Distribution Channel (On-demand, Direct to Customer)

Market Trends:

  • Rising Popularity of Crypto Music
  • Growing Digital Innovation over the Globe


  • Artist Preference to Grow Community is the Major Factor can Drive the Global Market Growth
  • Rising Demand due to the Convenience, Portability, And Novelty

Market Drivers:

  • Removal of Centralized Music Platform
  • Rapidly Growing Music Fans

Global Crypto Music and Audio market report highlights information regarding the current and future industry trends, growth patterns, as well as it offers business strategies to help the stakeholders in making sound decisions that may help to ensure the profit trajectory over the forecast years.

Region Included are: North America, Europe, Asia Pacific, Oceania, South America, Middle East & Africa

Country Level Break-Up: United States, Canada, Mexico, Brazil, Argentina, Colombia, Chile, South Africa, Nigeria, Tunisia, Morocco, Germany, United Kingdom (UK), the Netherlands, Spain, Italy, Belgium, Austria, Turkey, Russia, France, Poland, Israel, United Arab Emirates, Qatar, Saudi Arabia, China, Japan, Taiwan, South Korea, Singapore, India, Australia and New Zealand etc.

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Points Covered in Table of Content of Global Crypto Music and Audio Market:

Chapter 01 – Crypto Music and Audio Executive Summary

Chapter 02 – Market Overview

Chapter 03 – Key Success Factors

Chapter 04 – Covid-19 Crisis Analysis on Global Crypto Music and Audio Market

Chapter 05 – Global Crypto Music and Audio Market – Pricing Analysis

Chapter 06 – Global Crypto Music and Audio Market Background

Chapter 07 — Global Crypto Music and Audio Market Segmentation

Chapter 08 – Key and Emerging Countries Analysis in Global Crypto Music and Audio Market

Chapter 09 – Global Crypto Music and Audio Market Structure Analysis

Chapter 10 – Global Crypto Music and Audio Market Competitive Analysis

Chapter 11 – Assumptions and Acronyms

Chapter 12 – Research Methodology


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