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CD Baby, Tunecore, DistroKid Add Rapid Apple Music For Artists Verification  

CD Baby, Tunecore, DistroKid Add Rapid Apple Music For Artists Verification 

Top 3 DIY music distributors CD Baby, Tunecore and DistroKid have all added rapid Apple Music For Artists verification, unlocking the platform's expanded analytics for their artists. 

To be eligible, artists must use the same email address and password that they use for their distribution account when signing up for Apple Music For Artists. 

Here's how CD Baby describes what Apple Music For Artists offers: 

When you claim your Apple Music for Artists profile you’ll be able to: 

  • Express your visual brand on the platform 
  • View the real-time results of your music promotion 
  • Ensure that your music catalog is accurately represented 

With Apple Music for Artists you can view: 

  • Plays from on-demand streaming 
  • Average Daily Listeners 
  • Song Purchases on iTunes 
  • Radio plays on Apple Music 
  • Shazams (yes, Shazams!) 
  • Insights and milestones for your music worldwide (for instance, “You passed 10,000 all-time plays in Canada”) 
  • Plays from Playlists 
  • Most Played Songs 
  • Popular Countries (with heat maps) 
  • Demographic and geographic information about your listeners (by song, album, playlist, etc.) 
  • And more

APPLE MUSIC FOR ARTISTS LAUNCHES, RIVALLING SPOTIFY’S ANALYTICS TOOLS 

APPLE MUSIC FOR ARTISTS LAUNCHES, RIVALLING SPOTIFY’S ANALYTICS TOOLS

Artists and their managers have long appreciated the royalties they receive from Apple Music – which, on a per-play basis, are reportedly close to double what they get from Spotify. 

Yet Spotify has always won far more praise when it comes to another valuable asset for musicians: data. 

Spotify launched its Spotify For Artists app in 2017 (an evolution of the ‘Fan Insights’ tool it introduced two years earlier) to provide artists and their teams with information pertaining to their popularity on the service. 

Now, Apple is stepping up to the plate.

Guest post by: BY TIM INGHAM of Music Business Worldwide

Today (August 8), Apple Music For Artists (AMFA) is emerging out of Beta and is being made available for every artist on Apple Music. Like Spotify for Artists, the service is available as both a desktop interface and a standalone mobile app (in AMFA’s case, currently only on iOS). 

MBW understands that in the limited industry meetings Apple has had during AMFA’s Beta, it has been confidently telling artists that its app is “the best available” in the market. 

We’ve taken a look at the platform, both on desktop and via the iOS app. As you’d expect, it allows artists to monitor the volume of their streaming plays on Apple Music and album/song sales on iTunes, all within a data set that updates daily. 

Artists can also drill down into how specific songs and/or albums are performing (and how their fans are growing) in specific markets around the world – down to a city-level in over 100 countries. Apple believes this will help artists to plan tours, tailor setlists for fans in each city, and uncover hitherto unknown pockets of popularity around the world.

Artists can also monitor how many plays of a particular song in a given period have been generated by playlists, as opposed to ‘organic’ plays from fans – and what position their track has been placed within these lists. And they can also see how many of their streams are the result of algorithmic radio (i.e. ‘lean-back’) versus active plays. 

This won’t shock you, but it’s a big differentiator: Apple is putting Shazam data front and center within its AMFA app, allowing artists to examine where their music has been most Shazam’d in particular locations and in particular time periods. (Apple fully acquired Shazam for a reported $400m in September last year.) 

In addition, artists can see a basic count of the average number of daily listeners to their music, broken down by country, city or song, while there is a dedicated section breaking out their video plays on Apple Music. 

Plus, Apple has updated its data to cover music industry standard release weeks to enable artists to better monitor week-to-week success. 

And in a feature which reminded us of the much-vaunted artist app from AWAL, acts are automatically alerted when there are meaningful changes to their data, for example: (i) The first week plays of a new release versus their previous week-one plays; (ii) Milestones like ‘1 Million Plays’; (iii) Sudden spikes in streams anywhere around the world; (iv) When they are added to a major Apple Music playlist. 

Unlike some third-party distribution/services companies, Apple does not provide insights on how an act’s streams translate into royalty payouts.

Un-Freaking-Believable! Spotify: We ‘Overpaid’ Songwriters And Their Publishers In 2018, And We Would Like Our Money Back 

Un-Freaking-Believable! Spotify: We ‘Overpaid’ Songwriters And Their Publishers In 2018, And We Would Like Our Money Back

Courtesy of Music Business Worldwide

If you hadn’t noticed, tensions between the music publishing community and Spotify have taken a turn for the sour in recent months. 

This all began in March when Spotify, alongside other music streaming operators like SiriusXM/Pandora, Google and Amazon, lodged an appeal against mandated pay rises for songwriters and publishers in the US.

The headline news about that pay rise, decided by the US Copyright Royalty Board, was that mechanical streaming payouts from the likes of Spotify would rise by 44% or more between 2018 and 2022. 

It turns out, however, that there was some additional and under-reported complexity to the CRB decision concerning Spotify’s student discount offers and its family plan bundles – which allow up to six family members to stream Premium Spotify for a single price of just $14.99 a month. 

“ACCORDING TO THE NEW CRB REGULATIONS, WE OVERPAID MOST PUBLISHERS IN 2018… RATHER THAN COLLECT THE 2018 OVERPAYMENT IMMEDIATELY, WE HAVE OFFERED TO EXTEND THE RECOUPMENT PERIOD THROUGH THE END OF 2019.” 

SPOTIFY SPOKESPERSON

Because of this additional complexity, Spotify has now calculated that, retrospectively, according to the CRB decision, many music publishers actually owe it money for 2018, due to an overpayment based on the prior rates. And guess what? It wants that money back. 

Spotify told the publishers the news this week and, as you can imagine, these companies – already up in arms over Spotify’s CRB appeal – are fuming about it. 

One senior figure in the music publishing industry told MBW: “Spotify is clawing back millions of dollars from publishers in the US based on the new CRB rates that favor the DSPs, while appealing the [wider CRB decision]. This puts some music publishers in a negative position. It’s unbelievable.” 

Spotify isn’t expecting the publishers to hand over the money that it’s owed right away; instead, this negative balance will be treated as an advance by the company, which will be recouped from its 2019 royalty payouts to publishers (and, by association, their songwriters).

“I FIND IT SO HYPOCRITICAL FOR A DIGITAL SERVICE THAT IS APPEALING THE CRB DECISION TO THEN TAKE ADVANTAGE OF THE PARTS OF THAT DECISION THAT BENEFIT IT. I GUESS WE SHOULDN’T BE SURPRISED.” 

DAVID ISRAELITE, NMPA

A spokesperson for Spotify told MBW today (June 21): “According to the new CRB regulations, we overpaid most publishers in 2018. While the appeal of the CRB decision is pending, the rates set by the CRB are current law, and we will abide by them –  not only for 2018, but also for future years in which the amount paid to publishers is set to increase significantly. 

“Rather than collect the 2018 overpayment immediately, we have offered to extend the recoupment period through the end of 2019 in order to minimize the impact of the adjustment on publishing companies.” 

David Israelite, the CEO of the National Music Publishers Association who has consistently and publicly decried Spotify’s CRB appeal, told MBW in response to Spotify’s request for reimbursement from the publishers: “I find it so hypocritical for a digital service that is appealing the CRB decision to then take advantage of the parts of that decision that benefit it. I guess we shouldn’t be surprised.” 

The CRB rules that the annual streaming royalty rate in the States between 2018 and 2022 will be determined by the highest outcome across one of three different models: (i) a percentage of a streaming company’s total revenue; (ii) a percentage of what that streaming service pays to record labels each year; and (iii)  a flat fee per subscriber in the US. 

Within the new CRB-approved regulations for streaming payouts, it says: “A Family Plan shall be treated as 1.5 subscribers per month, prorated in the case of a Family Plan Subscription in effect for only part of a calendar month. A Student Plan shall be treated as 0.50 subscribers per month, prorated in the case of a Student Plan End User who subscribed for only part of a calendar month.” 

The NMPA announced last week that the US music publishing industry generated a record $3.33bn in 2018, up 11.8% year-on-year, and up 55% when compared to 2014.

Apple Reportedly Ending iTunes 

Apple Reportedly Ending iTunes

The file organization system you've been finding ways to work around for over a decade is about to be no more. According to a report from Bloomberg, Apple is hoping to phase out iTunes in the near future. Apple CEO Tim Cook is expected to announce the decision to move away from iTunes as part of a push away from the iPhone in coming years. 

Guest Post By Alex Galbraith

Unveiled in 2001, iTunes originally functioned as a music library and marketplace for iPods, iPhones, and Mac computers. As the company shifts its focus to other arms, the iTunes library will be replaced by separate desktop apps: Music, Podcasts and TV. iPhones and iPads already separate out libraries in this manner. 

The company's Worldwide Developers Conference is a closely watched event for fanboys and journalists. At this year's iteration, the company is also expected to announce greater freedom for their Apple Watch, which currently only works if it is connected to an iPhone. 

While the company is looking to roll out a new iPod soon, the move away from iTunes is probably a savvy business move given the recent raft of bad press attached to the brand. The company is currently being sued by users who allege that their iTunes data was sold to third parties who connected the data to personal information to sell to marketers. 

“None of the information pertaining to the music you purchase on your iPhone stays on your iPhone," the $5 million lawsuit alleged, per Billboard. “The data Apple discloses includes the full names and home addresses of its customers, together with the genres and, in some cases, the specific titles of digitally-recorded music that its customers have purchased via the iTunes Store and then stored in their devices.”

It's An Indie World After All  

It's An Indie World After All 

If there was still any doubt in your mind that you didn't need to be signed to a major label in order to succeed in the music industry, wonder no longer, as new data reveals just how much of market share indies have gained in recent years. 

Guest post by Bobby Owsinski of Music 3.0 

If you thought that you needed to sign with a major record label or publisher in order to have success, that’s no longer true and there’s a lot of data to prove it. No metric is more valuable in seeing this picture as market share. Indies have made great strides in this area in recent years and continue to do so. Let’s take a look: 

Record Label

Physical Product

Digital Product

Physical/Digital 

Universal

23.4%

32.4%

29.8% 

Sony

19.2%

20.2%

19.9 %

Warner

13.4%

17.7%

16.5%

Independents

44.0%

29.7%

33.8% 

The big takeaway here is how well the indies stack up against the majors. When it comes to physical product, the indies are way ahead, and when it comes to total product they are as well. 

Something similar happens with publishing. 

Record Label

2017

2018

Change

Sony

27.3%

26.0%

-1.3% 

Universal Publishing

19.5%

20.2%

0.7 %

Warner Chappell

12.0%

12.3%

0.3 %

Independents

41.2%

41.4%

0.2 %

Once again, the indies are way ahead of the major publishers and its’ not even close. 

This goes to show that everything in the music industry has been turned on its head. A decade ago and for nearly 100 years, the major labels and publishers dominated the industry. Today indies have a major share of the industry, and while no single company is as strong as a major (yet), they are as a group. 

Artists and songwriters are leery of major corporations in general, and that’s who run the major labels and publishers. They know that the majors have shareholder interests in mind more than theirs. It’s also now a safer bet to sign with a indie, since success is no longer a long shot by going down that path. 

The data was compiled by the Music & Copyright Blog.

Max Martin, UMG, Avid, DDEX, Session Announce the ‘World’s First End-to-End Music Credits Ecosystem’ 

Max Martin, UMG, Avid, DDEX, Session Announce the ‘World’s First End-to-End Music Credits Ecosystem’

Let’s give these artists some credit. 

Guest Post by: Paul Resnikoff

Photo: Session CEO Niclas Molinder (l) with ABBA member and Session co-founder Bjorn Ulvaeus (r) at SXSW.

Last week, a consortium of industry and artist associations banded together to underscore the importance of a “more robust and effective system of digital attribution and credits.” 

In a joint statement, the Artist Rights Alliance, SAG-AFTRA (Screen Actors Guild–American Federation of Television and Radio Artists), RIAA (Recording Industry Association of America ) and A2IM (American Association of Independent Music) urged the industry to double-down on proper artist crediting and metadata. 

“Attribution recognizes artistic achievement, helps creators connect, collaborate, and appreciate each other’s work, opens up new pathways for fans to trace artistic influences, and find new music, and aids accuracy in the digital royalty economy,” the joint statement urged. 

Now, there’s a concrete effort to more seriously address credits, missing metadata, and black box royalty problems. 

At SXSW, a separate consortium has proclaimed the ‘world’s first end-to-end music credits ecosystem’. 

The bold initiative, called Creator Credits, is being led by a heavyweight alliance that includes Max Martin’s MXM Music, Avid Technology, Universal Music Group and DDEX.  Session, led by co-founder (and ABBA member) Bjorn Ulvaeus and CEO Niclas Molinder (pictured above), is corralling the circle of power-players. 

In an announcement at the Hilton Hotel in Austin, TX, Molinder underscored the importance of starting the process of credits immediately.  That would explain the presence of Avid, which owns Pro Tools. 

“I’m convinced that the best way to involve the creators in the data collection is as early as possible in the creation process,” Ulvaeus said during the unveiling.  “Session’s technology performs a short handshake with music society systems to authenticate creators and associate their vital industry identifiers with their account. 

“When a creator walks into a Pro Tools powered studio, their presence will be automatically detected and their identifiers, along with their typical contributions, can be easily added to a song.” 

That approach is a far cry from the typical afterthought afforded to music metadata and royalty credits. 

Instead, Session (formerly named Auddly) is taking a very aggressive approach by starting the credits process during the creation phase itself.  “The proof-of-concept sees Avid embedding Session’s technology into Pro Tools to automatically detect the presence of creators in the studio and allowing the addition of creator credits, contributions and crucial industry identifiers (IPI, IPN and ISNI) to a recording before it leaves the studio,” the company explains. 

“Creator credits can easily be added to a song throughout the production process by automatically associating industry authenticated songwriters, musicians, producers and editors and their contributions.” 

In other words: the credits for a song can be added before the song is finished. 

“With Pro Tools software at the core of many of today’s music production environments around the world, the Avid team shares in the vision that all contributors to a piece of music or any audio work should be clearly identified, recognized and rewarded appropriately throughout the production and distribution process,” said Francois Quereuil, Director of Audio Product Management, AVID. 

“We are particularly excited to enter a technology collaboration with Session and work with key players in the music industry to provide a durable solution to the challenges associated with capturing and recognizing creators’ credits in an increasingly complex digital world.” 

But here’s the really exciting part: these credits aren’t just getting added to a local file. 

Instead, they’re being automatically pushed downstream to managers, labels, music publishers, PROs, distributors and streaming platforms.   That aggressive push is mandatory for proper downstream payments, especially given the spotty distribution of metadata across the fractured music industry ecosystem. 

The presence of Universal Music Group will also add some serious momentum to this initiative.  But Barak Moffitt, EVP of Content Strategy and Operations at UMG, says the two companies have been working together on metadata and credits for a few years.  “In addition to our own efforts, we have been working closely with Bjorn and Niclas for a couple years on the development of this platform as part of our commitment to a robust and effective crediting system for the benefit of the entire music ecosystem,” Moffitt relayed. 

DDEX, the supply chain data standards organization, has also been toiling away on music metadata standards for years — if not more than a decade.   Accordingly, the creator credits metadata will travel downstream to various music industry players in the ‘DDEX RIN’ standard format.  That will include critical industry identifiers for songwriters (IPI) and performing artists (IPN), as well as the emerging ISNI identifier. 

This creator identification information, along with their contributions to the recording and song, are assembled with the ISRC (recording identifier) and ISWC (composition identifier) codes.  That will enable downstream music platforms to improve their matching, payouts and even value-added features. 

The initiative comes at a moment of serious frustration for the music industry. 

With the ink dried on the Music Modernization Act (MMA), the industry is now arguing over an estimated $1.2 billion in unattributed ‘black box’ mechanical royalties being held by the likes of Spotify, Apple Music, and Amazon Music Unlimited.  And that’s just one piece of a gigantic black box whose size is estimated to be in the multi-billions.

Kobalt Is Now A Next Generation Major Label In The Making 

Guest post by: Mark Mulligan

"Kobalt has been the poster child for the changing of the guard in the music business," writes MIDiA analyst Mark Mulligan. But it's on a path to become much more as "next-generation label... plotting a course to becoming a next generation-major." 

__________________________________ 

By Mark Mulligan of MIDiA from his Music Industry blog 

News has emerged of Kobalt potentially looking to raise an additional $100 million of investment, following a 2017 round of $89 million and a 2015 $60-million round led by Google Ventures. Kobalt has been the poster child for the changing of the guard in the music business, helping set the industry agenda by pursuing a creators-first strategy while. 

Building an impressive roster of songwriters and artists at a scale that would have most indies salivating. But it does not have its sights set on being the leading player of the indie sector, instead playing for the big game: Kobalt is the next major label waiting to happen. 

So, what makes Kobalt so different? In some respects, nothing. Most of what Kobalt is doing has been done before, and there are others plotting a similar path right now (e.g. BMG, United Masters, Hitco). What matters is how it is executing, how well backed it is and the scale of its ambitions: 

Moving beyond masters: In the old model, artists signed away their rights in perpetuity to record labels, with nine out of ten of them permanently in debt to the label not yet having paid off their advances. The new model (i.e. label services) pursued by the likes of Kobalt, reframes the artist-label relationship, turning it one more akin to that of agency-client. In this rebalanced model artists retain long-term ownership of their copyrights and in return share responsibility of costs with their label. This approach, coupled with transparent royalty reporting, lower admin costs and continual tech innovation has enabled Kobalt to build a next-generation label business. 


Laser focus on frontline: In a label services business the entire focus is on frontline, as there isn’t any catalogue. An artist signed to such a label therefore knows that they have undivided attention. That’s the upside; the downside is that the label does not have the benefit of a highly-profitable bank of catalogue to act as the investment fund for frontline. This means that a label like Kobalt often cannot afford the same scale of marketing as a major one, which helps explain why Kobalt is looking for another $100 million. However, there is a crucial benefit of being compelled to spend carefully. 


Superstar niches: In the old model, labels would (and often still do) carpet-bomb TV, radio, print and digital with massive campaigns designed to create global, superstar brands. Now, labels can target more precisely and be selective about what channels they use. Kobalt’s business is based around making its roster superstars within their respective niches, finding a tightly-defined audience and the artists they engage with. The traditional superstar model sees an artist like a Beyoncé, Ed Sheeran or a Taylor Swift being a mass media brand with recognition across geographies and demographics. The new superstar can fly under the radar while simultaneously being hugely successful. Take the example of Kobalt’s Lauv, an artist tailor-made for the ‘Spotify-core’ generation that hardly registers as a global brand, yet has two billion audio streams, half a billion YouTube views and 26 million monthly listeners on Spotify. By contrast, heavily-backed Stormzy has just three million monthly Spotify listeners. 


Deep tech connections: The recent WMG / Spotify spat illustrates the tensions that can exist between labels and tech companies. Kobalt has long focused on building close relationships with tech companies, including but not limited to streaming services. This positioning comes easier to a company that arguably owes more to its technology roots than it does its music roots. The early backing of Google Ventures plays a role too, though with some negative connotations; some rights holders fear that this in fact reflects Google using Kobalt as a proxy for a broader ambition of disrupting the traditional copyright regime. 
A highly structured organisation: One of the key differences between many independent labels and the majors is that the latter have a much more structured organizational set up, with large teams of deep specialisation. This is the benefit of having large-scale revenues, but it is also a manifestation of ideology. Most independents focus their teams around the creative end of the equation, putting the music first and business second. Major labels, while still having music at their core, are publicly-traded companies first, with corporate structures and a legal obligation on management to maximise shareholder value. Kobalt has undoubtedly created an organisational structure to rival that of the majors. 

Earned Fandom 

Kobalt is a next-generation label and it is plotting a course to becoming a next generation-major. That success will not be reflected in having the rosters of household names that characterise the traditional major model, but instead an ever-changing portfolio of niche superstars. The question is whether the current majors can respond effectively; they have already made big changes, including label services, JV deals, higher royalty rates, etc. 

Perhaps the most fundamental move they need to make, however, is to understand what a superstar artist looks like in the era of fragmented fandom. The way in which streaming services deliver music based on use behaviours and preferences inherently means that artists have narrower reach because they are not being pushed to audiences that are relevant. This shifts us from the era of macro hits to micro hits ie songs that feel like number one hits to the individual listener because they so closely match their tastes. This is what hits mean when delivered on an engagement basis rather than a reach basis. Quality over quantity. 

Majors can still make their artists look huge on traditional platforms, which still command large, if rapidly aging audiences. But what matters most is engagement, not reach. It is a choice between bought fandom and earned fandom. In the old model you could build a career on bought fandom. Now if you do not earn your fandom, your career will burn bright but fast, and then be gone.

SOUNDCLOUD IS NOW A DISTRIBUTOR: PLATFORM LAUNCHES TOOL FOR USERS TO UPLOAD MUSIC TO SPOTIFY, APPLE MUSIC ETC. 

Guest Post By Tim Ingham/ Music Business World February 19, 2019

The upgrade to the platform’s SoundCloud Premier monetization toolset allows users to “seamlessly” distribute their music to the likes of Amazon Music, Apple Music, Instagram, Spotify, Tencent, YouTube Music and more – all from within their SoundCloud account. 

Subscribers to either of SoundCloud’s upload offerings (SoundCloud Pro and Pro Unlimited) can gain access to SoundCloud Premier at no extra cost.

Premier’s core selling point is that it allows artists to monetize their music on SoundCloud, earning a revenue share which the company says “meets or beats every [other] streaming service”. 

In terms of the new distribution tool, SoundCloud says it’s not taking any cut from the earnings artists obtain on other platforms, while it promises “streamlined payments from everywhere – directly from SoundCloud”. 

“Only SoundCloud empowers creators with a unified platform to instantly upload and share, connect with fans in real-time and get paid for their work everywhere –both on SoundCloud and across other leading music services,” said Kerry Trainor, Chief Executive Officer, SoundCloud. 

“Creators can now spend less time and money jumping between different tools, and more time making music, connecting with fans and growing their careers first on SoundCloud.”

The move comes a few months after Spotify announced that it was also effectively becoming a multi-platform distributor. Daniel Ek’s company acquired a minority stake in third-party firm Distrokid in October last year, before launching a beta tool which made it possible for users to upload tracks to other services via the Spotify For Artists dashboard. 

Prior to rolling out its open beta distribution tool, SoundCloud worked with a number of artists including Leaf, mobilegirl, Jevon and Thutmose in a closed beta environment to test and get feedback on the new feature. 

“I believe SoundCloud’s new distribution tool is the way of the future for independent artists and music in general,” said rising rap artist, Leaf. “It makes distribution an easy one-step process, giving you a very simple way to monetize your plays and the freedom to reach new heights with your fan base.” 

Hip-hop producer and musician, Jevon, said, “SoundCloud’s distribution tool is a great way for unsigned artists to get their music out there for the world to hear. Everyone knows how easy it is to upload a song to SoundCloud, and now it’s just as simple to upload and distribute everywhere.” 

Over the course of the next few months, says SoundCloud, creators will see new functionality added to the monetization toolset – which is available for SoundCloud Pro or Pro Unlimited subscribers who own all applicable rights to their original music, and who are over 18 years old. 

To use the toolset, these artists must also have no copyright strikes against their music on SoundCloud at the time of enrollment. 

At last count, SoundCloud’s music catalog included over 200 million tracks from 20 million creators heard in 190 countries