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Smartphone Music Production Software Market

Publisher Fortune Business Insights Pvt. Ltd.
Published Oct 01, 2024
Length 150 Pages
SKU # FOB19260706

Description

Smartphone Music Production Software Market



Growth Factors of Smartphone Music Production Software Market

The smartphone music production software market size was valued at USD 78,609 thousand in 2022, and the market is now projected to grow from USD 84,610 thousand in 2023 to USD 157,548 thousand by 2030, exhibiting a CAGR of 9.3% during the forecast period of 2023-2030.

COVID-19 pandemic enforced all businesses to become isolated, making it tough for artists to endure with their usual activities. To overcome this challenge, artists establish new techniques to reach their viewers through smartphone music production software, live streaming, and social media platforms, which formed beneficial breaks for the market. The spread of coronavirus had a significant influence on the mobile app industry.

The key performers functioning in the market are involved in developing multiple music production software for smartphones to permit users to generate easy and creative music tunes. These music production software provides complete access to the user, related to professional studios from the ease of their homes. The market performers progress music production software with numerous features. These apps are accessible with a paid subscription, and a limited are accessible for free. Additionally, to deliver a superior user experience, such apps are allowed with artificial intelligence (AI) technology and music software programs. AI technology is incorporated with music composition, performance, education, and digital processing to boost human competences in the music industry.

Cloud-based music production services deliver users easy access to huge libraries of synthesizer presets, audio illustrations, synthesizers, and mixing tools. Splice, Noiiz, and Loopcloud are cloud-based music production subscription services that allow operators to automatically back up their work on the host’s servers. These facilities deal royalty-free audio samples, and operators are permitted to embrace these audio samples easily into their songs deprived of any patent limitations. Thus, the rising demand for cloud technology in music production software is projected to fuel the worldwide smartphone music production software market growth in the upcoming years.

Comprehensive Analysis of Smartphone Music Production Software Market

The market can be segmented in various ways, depending on the focus of analysis such as by type, by stage and by application. Based on type, the market is classified into editing, mixing, and recording. By stage, the market is divided into single-stage and multi-stage. Based on application, the market is segmented into music production companies, independent musician, and home studios (personal).

North America region is dominating the smartphone music production software market share as it is considered the home-based to the world’s leading music market.

The key players are enthusiastically contributing in planned events that are targeted at maintaining durable market position and growing market share by merger, partnerships and others. These players include Avid Technology, Inc. (U.S.), Spotify Technology S.A. (U.S.), Roland Corporation (Japan), Sony Group Corporation (Japan), BandLab Technologies (Singapore), Arturia Tous droits reserves (France), inMusic Brands (U.S.), Native Instruments GmbH (Germany), Steinberg Media Technologies GmbH (Germany), Image Line Software (Belgium), KORG Inc. (Japan) these market players spending severely on research and development in order to arise with more new technology so that they can maintain and improve their existing market.

In March 2023, Qualcomm Technologies Inc. had broadcasted the Snapdragon 7 series mobile platform that offers a modern superior experience. The presentation of this platform deals the most advanced solutions to meet the needs of clients and industry at large scale.

Segmentation Table

ATTRIBUTE DETAILS

Study Period 2019-2030

Base Year 2022

Estimated Year 2023

Forecast Period 2023-2030

Historical Period 2019-2021

Growth Rate CAGR of 9.3% from 2023 to 2030

Unit Value (USD Thousand)

Segmentation By Type, Application, and Geography

By Type Editing

Mixing

Recording

By Application Music Production Companies

Independent Musician

Home Studios (Personal)

By Region North America (By Type, By Application, and By Country)
  • U.S.
- By Application
  • Canada
- By Application

Latin and South America (By Type, By Application, and By Country)
  • Mexico
- By Application
  • Brazil
- By Application
  • Peru
- By Application
  • Chile
- By Application
  • Rest of Latin and South America
Europe (By Type, By Application, and By Country)
  • Germany
- By Application
  • U.K.
- By Application
  • France
- By Application
  • Italy
- By Application
  • Spain
- By Application
  • Russia
- By Application
  • Nordics
- By Application
  • Rest of Europe
Middle East & Africa (By Type, By Application, and By Country)
  • Turkey
- By Application
  • Saudi Arabia
- By Application
  • UAE
- By Application
  • Rest of MEA
Asia Pacific (By Type, By Application, and By Country)

China

  • - By Application

    Japan

    • - By Application

      India

      • - By Application

        South Korea

        • - By Application

          Thailand

          • - By Application

            Australia

            • - By Application

              Singapore

              • - By Application

                New Zealand

                • - By Application

                  Philippines

                  • - By Application

                    Malaysia

                    • - By Application

                      Indonesia

                      • - By Application

                        Rest of APAC

Table of Contents

150 Pages
1. Introduction
1.1. Definition, By Segment
1.2. Research Methodology/Approach
1.3. Data Sources
2. Executive Summary
3. Market Dynamics
3.1. Macro and Micro Economic Indicators
3.2. Drivers, Restraints, Opportunities and Trends
3.3. Impact of COVID-19
4. Competition Landscape
4.1. Business Strategies Adopted by Key Players
4.2. Consolidated SWOT Analysis of Key Players
4.3. Global Smartphone Music Production Software Key Players Market Share/Ranking, 2022
5. Global Smartphone Music Production Software Market Size Estimates and Forecasts, By Segments, 2019-2030
5.1. Key Findings
5.2. By Type (USD)
5.2.1. Editing
5.2.2. Mixing
5.2.3. Recording
5.3. By Application (USD)
5.3.1. Music Production Companies
5.3.2. Independent Musician
5.3.3. Home Studios (Personal)
5.4. By Region (USD)
5.4.1. North America
5.4.2. Latin and South America
5.4.3. Europe
5.4.4. Middle East & Africa
5.4.5. Asia Pacific
6. North America Smartphone Music Production Software Market Size Estimates and Forecasts, By Segments, 2019-2030
6.1. Key Findings
6.2. By Type (USD)
6.2.1. Editing
6.2.2. Mixing
6.2.3. Recording
6.3. By Application (USD)
6.3.1. Music Production Companies
6.3.2. Independent Musician
6.3.3. Home Studios (Personal)
6.4. By Country (USD)
6.4.1. United States
6.4.1.1. By Application
6.4.2. Canada
6.4.2.1. By Application
7. Latin and South America Smartphone Music Production Software Market Size Estimates and Forecasts, By Segments, 2019-2030
7.1. Key Findings
7.2. By Type (USD)
7.2.1. Editing
7.2.2. Mixing
7.2.3. Recording
7.3. By Application (USD)
7.3.1. Music Production Companies
7.3.2. Independent Musician
7.3.3. Home Studios (Personal)
7.4. By Country (USD)
7.4.1. Mexico
7.4.1.1. By Application
7.4.2. Brazil
7.4.2.1. By Application
7.4.3. Peru
7.4.3.1. By Application
7.4.4. Chile
7.4.4.1. By Application
7.4.5. Rest of Latin and South America
8. Europe Smartphone Music Production Software Market Size Estimates and Forecasts, By Segments, 2019-2030
8.1. Key Findings
8.2. By Type (USD)
8.2.1. Editing
8.2.2. Mixing
8.2.3. Recording
8.3. By Application (USD)
8.3.1. Music Production Companies
8.3.2. Independent Musician
8.3.3. Home Studios (Personal)
8.4. By Country (USD)
8.4.1. Germany
8.4.1.1. By Application
8.4.2. United Kingdom
8.4.2.1. By Application
8.4.3. France
8.4.3.1. By Application
8.4.4. Italy
8.4.4.1. By Application
8.4.5. Spain
8.4.5.1. By Application
8.4.6. Russia
8.4.6.1. By Application
8.4.7. Nordics
8.4.7.1. By Application
8.4.8. Rest of Europe
9. Middle East & Africa Smartphone Music Production Software Market Size Estimates and Forecasts, By Segments, 2019-2030
9.1. Key Findings
9.2. By Type (USD)
9.2.1. Editing
9.2.2. Mixing
9.2.3. Recording
9.3. By Application (USD)
9.3.1. Music Production Companies
9.3.2. Independent Musician
9.3.3. Home Studios (Personal)
9.4. By Country (USD)
9.4.1. Turkey
9.4.1.1. By Application
9.4.2. Saudi Arabia
9.4.2.1. By Application
9.4.3. UAE
9.4.3.1. By Application
9.4.4. Rest of MEA
10. Asia Pacific Smartphone Music Production Software Market Size Estimates and Forecasts, By Segments, 2019-2030
10.1. Key Findings
10.2. By Type (USD)
10.2.1. Editing
10.2.2. Mixing
10.2.3. Recording
10.3. By Application (USD)
10.3.1. Music Production Companies
10.3.2. Independent Musician
10.3.3. Home Studios (Personal)
10.4. By Country (USD)
10.4.1. China
10.4.1.1. By Application
10.4.2. Japan
10.4.2.1. By Application
10.4.3. India
10.4.3.1. By Application
10.4.4. South Korea
10.4.4.1. By Application
10.4.5. Thailand
10.4.5.1. By Application
10.4.6. Australia
10.4.6.1. By Application
10.4.7. Singapore
10.4.7.1. By Application
10.4.8. New Zealand
10.4.8.1. By Application
10.4.9. Philippines
10.4.9.1. By Application
10.4.10. Malaysia
10.4.10.1. By Application
10.4.11. Indonesia
10.4.11.1. By Application
10.4.12. Rest of Asia Pacific
11. Company Profiles for Top 10 Players (Based on data availability in public domain and/or on paid databases)
11.1. Avid Technology, Inc.
11.1.1. Overview
11.1.1.1. Key Management
11.1.1.2. Headquarters
11.1.1.3. Offerings/Business Segments
11.1.2. Key Details (Key details are consolidated data and not product/service specific)
11.1.2.1. Employee Size
11.1.2.2. Past and Current Revenue
11.1.2.3. Geographical Share
11.1.2.4. Business Segment Share
11.1.2.5. Recent Developments
11.2. Spotify Technology S.A.
11.2.1. Overview
11.2.1.1. Key Management
11.2.1.2. Headquarters
11.2.1.3. Offerings/Business Segments
11.2.2. Key Details (Key details are consolidated data and not product/service specific)
11.2.2.1. Employee Size
11.2.2.2. Past and Current Revenue
11.2.2.3. Geographical Share
11.2.2.4. Business Segment Share
11.2.2.5. Recent Developments
11.3. Roland Corporation
11.3.1. Overview
11.3.1.1. Key Management
11.3.1.2. Headquarters
11.3.1.3. Offerings/Business Segments
11.3.2. Key Details (Key details are consolidated data and not product/service specific)
11.3.2.1. Employee Size
11.3.2.2. Past and Current Revenue
11.3.2.3. Geographical Share
11.3.2.4. Business Segment Share
11.3.2.5. Recent Developments
11.4. Sony Group Corporation
11.4.1. Overview
11.4.1.1. Key Management
11.4.1.2. Headquarters
11.4.1.3. Offerings/Business Segments
11.4.2. Key Details (Key details are consolidated data and not product/service specific)
11.4.2.1. Employee Size
11.4.2.2. Past and Current Revenue
11.4.2.3. Geographical Share
11.4.2.4. Business Segment Share
11.4.2.5. Recent Developments
11.5. BandLab Technologies
11.5.1. Overview
11.5.1.1. Key Management
11.5.1.2. Headquarters
11.5.1.3. Offerings/Business Segments
11.5.2. Key Details (Key details are consolidated data and not product/service specific)
11.5.2.1. Employee Size
11.5.2.2. Past and Current Revenue
11.5.2.3. Geographical Share
11.5.2.4. Business Segment Share
11.5.2.5. Recent Developments
11.6. Arturia Tous droits reserves
11.6.1. Overview
11.6.1.1. Key Management
11.6.1.2. Headquarters
11.6.1.3. Offerings/Business Segments
11.6.2. Key Details (Key details are consolidated data and not product/service specific)
11.6.2.1. Employee Size
11.6.2.2. Past and Current Revenue
11.6.2.3. Geographical Share
11.6.2.4. Business Segment Share
11.6.2.5. Recent Developments
11.7. inMusic Brands
11.7.1. Overview
11.7.1.1. Key Management
11.7.1.2. Headquarters
11.7.1.3. Offerings/Business Segments
11.7.2. Key Details (Key details are consolidated data and not product/service specific)
11.7.2.1. Employee Size
11.7.2.2. Past and Current Revenue
11.7.2.3. Geographical Share
11.7.2.4. Business Segment Share
11.7.2.5. Recent Developments
11.8. Native Instruments Gmbh
11.8.1. Overview
11.8.1.1. Key Management
11.8.1.2. Headquarters
11.8.1.3. Offerings/Business Segments
11.8.2. Key Details (Key details are consolidated data and not product/service specific)
11.8.2.1. Employee Size
11.8.2.2. Past and Current Revenue
11.8.2.3. Geographical Share
11.8.2.4. Business Segment Share
11.8.2.5. Recent Developments
11.9. Steinberg Media Technologies Gmbh
11.9.1. Overview
11.9.1.1. Key Management
11.9.1.2. Headquarters
11.9.1.3. Offerings/Business Segments
11.9.2. Key Details (Key details are consolidated data and not product/service specific)
11.9.2.1. Employee Size
11.9.2.2. Past and Current Revenue
11.9.2.3. Geographical Share
11.9.2.4. Business Segment Share
11.9.2.5. Recent Developments
11.10. Image Line Software
11.10.1. Overview
11.10.1.1. Key Management
11.10.1.2. Headquarters
11.10.1.3. Offerings/Business Segments
11.10.2. Key Details (Key details are consolidated data and not product/service specific)
11.10.2.1. Employee Size
11.10.2.2. Past and Current Revenue
11.10.2.3. Geographical Share
11.10.2.4. Business Segment Share
11.10.2.5. Recent Developments
11.11. KORG Inc.
11.11.1. Overview
11.11.1.1. Key Management
11.11.1.2. Headquarters
11.11.1.3. Offerings/Business Segments
11.11.2. Key Details (Key details are consolidated data and not product/service specific)
11.11.2.1. Employee Size
11.11.2.2. Past and Current Revenue
11.11.2.3. Geographical Share
11.11.2.4. Business Segment Share
11.11.2.5. Recent Developments
12. Key Takeaways

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