Smartphone Music Production Software Market

Best Price Guarantee	Length	Publisher	Published Date	SKU
from $4,850	150 Pages	Fortune Business Insights Pvt. Ltd.	October, 2024	FOB19260706

Best Price Guarantee
Price	from $4,850
Length	150 Pages
Publisher	Fortune Business Insights Pvt. Ltd.
Published Date	October, 2024
SKU	FOB19260706

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

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

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