Tonight, September 30, marks the end of the free trial period for the first wave of Apple Music users. Those who signed up the first day the streaming service became available will have to decide in the coming hours if they want to keep their subscription or cancel, and those who signed up in the days after launch may want to start considering their options as well. An Apple Music subscriptions costs $9.99 per month, or $14.99 per month for a family subscription for up to six people (which requires iCloud Family Sharing). This is comparable to the cost of Spotify ($10 per month, $4.99 for students), as well as Rdio ($10 per month, which includes an offline listening mode), but doesn’t necessarily make Apple Music the better choice. That decision will likely be based largely on user preference, so we won’t waste any time trying to sway you one way or another.
If you weigh your renewal options and decide Apple Music is not for you, follow these simple steps to ensure you subscription ends when your free trial expires:
1) Open Apple Music
2) Tap the Account icon in the upper left corner of the app
3) Tap on View Apple ID
4) Select Manage under Subscriptions
5) Turn the slider next to Automatic Renewal to Off.
6. Confirm your cancellation
7. Once confirmed, your account will stay active until your current trial/month comes to an end.
This morning I attended a SXSW panel filled with leaders from Shazam, Sirius XM, and other digital music platforms that hoped to tackle the tough subject of music discovery and where it may be headed in the future. It was a continuation of a panel from 2014, but the content shared was wholly unique to this session.
The first topic was the rise in demand for professional curators. Apple is hiring some right now, but there is an argument to be made for whether or not machines can do they job just as well. The team from Sirius XM commented that this trend is good, but they have always made it a point to use both man and machine for their curation needs. Shazam seconded this notion, and added that their path to discovery begins with user generated questions. Users hear a song they like, then engage in discovery by opening Shazam to figure out who is responsible for the track. To help make a connection between personal discovery and more large scale music discovery the company recently added charts, which shows every user the songs most often being sought on the Shazam platform.
Other panelists had variations on the comments above, but almost everyone agreed the most difficult part of the curation and discovery process right now is how to expose people to talent they may enjoy without doing a hard sell. For Rdio, one of Spotify’s biggest competitors, the changes being made to better facilitate discovery began with the launch of their own radio tool. Users can choose the song or artist they like, turn on radio, and the service will attempt to serve users with artists and songs they believe to be similar to the user’s initial choice. Who makes this cut is based on cumulative data from all users, which is fed through an algorithm to find what artists/songs are most often played together.
When asked how they plan to take this idea and develop it further, Rdio mentioned personalized radio stations for users that take into consideration everything they listen to, as well as how often each song/artist/genre is enjoyed. Other panelists agreed that this idea was the way of the future, though each has their own take on how it should work. Again, everything comes back to data, and it seems that will be a constant theme throughout SXSW this week.
If we accept that data is the key to curation and digital discovery, which the panel in this session did, then we next need to discuss what parameters need to be placed on the data being used. People who use applications like Shazam or Rdio have possibly compiled years worth of data about their music interest, so how far back should these companies dig through that data when trying to determine new talent to show that user? No one seems to have an answer quite yet, but almost everyone agrees there needs to be some kind of cut off point. People’s tastes change over time, so it doesn’t make sense to use the entirety of your time with a service to generate new recommendations.
8Tracks founder David Porter was quick to reply to this conversation by adding that having too little data about a user is just as problematic as too much. He used Twitter’s ‘People You May Know’ service as an example, citing how the company did a poor job of recommending people you may actually know early on, but over time they refined their tools through the use of more and more data.
At this point the panel was asked whether or not users would feel comfortable with constant data mining being made in the name of content curation and future music discovery. The panelists were quick to comment that the answer will always be dependent on the way the discovery tools are presented to users. General recommendations like Prince or Madonna are only going to push people away, as most users will already know of these artists. The key is to find a way to show users lesser known artists who relate to the talent they already know without coming across and pushing a hard sell or otherwise being intrusive.
Building on this idea, Shazam commented that they have learned bad and/or poor recommendations tend to drive away users. If people get push notifications or emails that attempt to connect them with music they already are aware of they are far more likely to turn off notifications and unsubscribe from email chains than if no recommendations were serviced at all. Other panelists commented that they have seem similar trends with their various attempts to change or innovate discovery.
Before closing the panelists were asked to summarize their thoughts. There were some variations, as well as plenty of pitches for their various companies, but as a whole everyone seemed to agree that the future of music discovery and content curation is not about man versus machine, but rather man and machine finding a way to work together while leveraging the vast pools of data each business has collected. No one knows exactly what the next phase of discovery will be or what it will look like, but everyone is interested in seeing it brought to the public sooner than later. In order for these companies to thrive they need users who are constantly consuming content, and the only way to guarantee that happens is by consistently providing them with good recommendations, or at least giving them the tools to find artists they may enjoy. Once someone cracks that code, everything about content curation will change.
A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2014. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.
Each Sunday we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.
Job summary:Bandcamp is seeking a mind-bogglingly talented individual for our design team to help us create new products and features, improve existing ones and make our site and mobile apps shining beacons of wonder for all who gaze upon them. You will design. You will code. You will have a positive impact on the lives of hundreds of thousands of artists and their millions of fans each and every day. You will feel good. You will feel as good as I do right now.
Job summary: Seeking an Operations Manager who is responsible for the day to day and event operations at the newly developed Amphitheater in Nashville, TN. This includes but is not limited to de-winterization and winterization of the facility, managing event staff, reporting and maintaining incident logs, and on-site, day of show operations responsibilities.
Job summary: Reporting directly to the COO, the Digital Marketing Manager will be responsible for handling artist digital content management for all artists and the Latium brand.
Job summary: Reporting to the Head of Operations, CraveOnline, the Social Media Specialist is responsible for developing clearly-defined social media strategies in a manner that supports the CraveOnline.com brand as well as other CraveOnline Media properties. This position is responsible managing projects across all social media channels to help achieve our overall brand objectives and growth metrics.
Job summary: The Interactive Marketing team at Warner Bros Records spearheads all digital marketing initiatives for the label’s diverse roster including urban, rock and pop artists. They are responsible for building out the digital, mobile and social components of an artist’s overall marketing plan – including but not limited to: digital promotions, artist website development and optimization, fan acquisition and engagement, creation/implementation of digital tools and products to increase fan engagement, paid media campaigns, etc… Additionally, the team is relied upon to be industry-leading innovators in the digital space, anticipating consumer trends and substantive technological advancements.
Job summary: Reporting to the Head of Research & Instruction Services, and serving as a branch manager, the Music Librarian is responsible for all aspects of the operation of the Music Library. This includes circulation, reserves, collection management, cataloging, e-resource management, and bindery in conformity with Holy Cross Libraries policy. It also includes staff and student supervision, team participation and project management, campus liaison work, and participation in professional development.
Job summary: We are looking for a savvy Content Producer with strong video skills to join our growing Community and Content team. Working on digital and social channels of our incredible roster of Artists, the successful candidate will relish the opportunity to utilise their diverse experience in the hands-on production of video, photographic and written content. Reporting to the Community & Content Director, this position also runs the day-to-day management of the Universal Music Australia social channels.
Job summary: Pandora Media is looking for a systems-focused Business Analyst for our Revenue Operations Department. The right individual will be a key contributor to the overall Sales Technical Operations team with a focus on improving our internal sales software and driving aggressive efficiency for end users. End users of the systems include Sales, Client Services, Trafficking and Finance teams. The goal of this position is to support Pandora’s strategic initiatives with a focus on partnering with the Sales and Revenue Operations organizations to understand their priorities and pain points. The role will involve information gathering, business process analysis, system support, training and documentation, and measurement. The Business Analyst will partner cross-functionally with Product, Engineering, Quality Assurance and Enterprise Systems teams to build solutions and measure their impact.
Job summary: The Media Analyst provides the Membership department with statistical analysis and reporting on market share, competitive comparisons and royalty distribution summaries. He or she will maintain and build databases to provide and maintain large amounts of data for analysis and reporting. He or she will utilize Billboard, Mediaguide, Competitrack and other media sources for reporting on current trends within the industry. This ideal candidate will actively seek out data outside of the organization that will enhance relevant analysis and reporting. He or she will work with the Strategic Services department to provide recommendations to enhance or improve current methodology and practice.
Job summary: Recruits and assists prospective writers, publishers, producers and artists to BMI by performing the following duties either personally or through the direction of others.
Job summary: The ideal candidate will have direct experience or deep knowledge of the current entertainment marketplace and must demonstrate exceptional creative writing skills with a strategic marketing emphasis. Working as a creative team member, this person will help elevate the messaging effectiveness and style on all projects while maintaining alignment with the SiriusXM Brand. The Senior Writer will work closely with the creative team to create materials for many departments including Programming, Retail, Direct to Consumer, Automotive, Retention and Corporate. This is a hands on position that will include everything from direct marketing letters to television concept to channel naming to digital communications.
Job summary: The iHeartMedia Account Executive will identify and solicit new business; service and grow existing account. They are responsible for developing persuasive proposals in response to client needs and/or opportunities. They will guide their clients based on market, platform or station information. They are responsible for ensuring client satisfaction through cooperative communication. They will also negotiate rates consistent with iHeartMedia operating goals and budgets and ensure prompt payment. They will utilize all available iHeartMedia resources to create effective marketing campaigns.
Job summary: The VH1 Creative Department needs a hybrid, multi-faceted Full Time Freelance Executive Producer who can not only excel in overseeing the development of multi-platform Creative, but serve on the front-line of projects – acting as the face of the Department for all outward facing partners. This includes our “clients”, who are Show Producers but also, serve as accountable and expert ambassadors of our Creative within our own Department.
This role requires deep expertise in the Production and Creative Process including well-honed client-management skills to handle a fast-paced environment where things change in an instant and multiple voices needs to be accounted for.
Job summary: The candidate we select into this key role will have a proven track record in building successful partnerships as well as consistently securing seven-figure investments with FORTUNE 500 organizations. S/he already has an established reputation and track record of success, gained with any combination of major brands, teams or agencies, and is now looking to further enhance their reputation with one of the leading sports and entertainment companies in the world.
Job summary: The Global Social Media Manager will lead the development of the corporation’s social media strategy, and will oversee the execution of plans and tactics around the globe.
Job summary: This successful sponsorship sales professional will be responsible for creating and selling branded, high-impact music marketing programs across our music properties.
Job summary: The Ad Sales Coordinator is a key member of the Ad Sales team, supporting all aspects of the sales process as well as providing general administrative support to the Vice President of Ad Sales and the ad sales team.
Job summary: Pandora is looking for an Associate Program Manager to play a critical role in driving and managing concurrent projects related the successful roll out, communication, and commercialization of changes to ad products, system and platform updates and process improvements. This is a highly cross-functional independent contributor role that will report into Sales Technical Operations and combines aspects of project management, product marketing, marketing communications, and training.
Job summary: AM is looking for a senior media planner to run several accounts out of our New York office. This digital client service superstar is adept at anticipating client needs and always maintaining an excellent relationship at all times. This candidate needs to be able to coordinate online media campaign efforts seamlessly with all internal teams (media, accounts, creative, etc.) as well as the client. The senior media planner will also be responsible for assessing client goals and providing them with a clear, effective game plan to achieve them. They will be responsible for developing an intimate knowledge of their clients’ business and ensuring that all aspects of the overall strategy are in place at all times.
Job summary: Bright Marketing offers outstanding career opportunities in one of the world`s most successful companies in the retail and events sales industry.
Job summary: Marketing Manager reports directly to the National Director of Marketing, Senior Talent Buyer and Regional VP of Talent. This person will be responsible for creating marketing plans including: advertising, promotions, publicity, social media and media buying for Live Nation concerts, including Family programming and Broadway/Theatrical performances, in select markets in the Riverside and Inland Empire area including the Fox Performing Arts Centre and Riverside Municipal Auditorium. The Marketing Manager needs to track spends and allocate funds for individual show budgets. Additionally, the Marketing Manager needs to be able to communicate with many partners in the Riverside/Inland Empire area.
Job summary: Our mid-level apprentice position for Music Services is designed to help support the team of Music Supervisors. This position is multi-faceted with duties ranging from administrative support to music cataloguing to Music Supervision of mid-level accounts.
Job summary: Reporting directly to the Head of Global Content Licensing and Catalog, the Content Licensing Lead – EMEA is responsible for the identification, negotiation and renewal of the agreements between Rdio and EMEA-based labels, publishers, and connection societies.
Job summary: We’re building a new team to focus on digital music recommendations and are looking to hire a Research Scientist to work at the intersection of music and machine learning.
Job summary: This position will oversee the paid search and SEO initiatives to support sales on Bose websites in the US and Canada. They will also be responsible for comparison shopping campaigns and the Bose affiliate program. This position will manage the day-to-day relationships with our external search and affiliate agencies and will partner with internal marketing colleagues, product managers and our internal communications group on key campaigns and initiatives. They will be responsible for driving overall strategy, leading new tests and initiatives, and optimizing campaigns to deliver the highest return and engagement. This position will manage the overall media budget for paid search, comparison shopping and affiliate marketing, analyze performance and present results to marketing management.
Job summary: Pandora’s Business Operations team is currently seeking a Sales Marketing Analyst to support the sales and marketing team by creating and managing data, revenue and related tasks for sales marketing.
Job summary: The Marketing Coordinator reports directly to the Marketing Manager. This person, under guidance of the Marketing Manager, will be responsible for communicating event marketing plans, budgeting advertising spends, developing promotions, leading street team initiatives, and scheduling of social media updates as requested.
Job summary: Seeking a driven and passionate individual to handle a multitude of tasks, including managing newsletter team and make sure national newsletters are optimized, working with ad operations team to deliver required audience to sales campaigns, and working with national and local programming teams to deliver audience to programming initiatives.
Job summary: Producer will be responsible for all aspects involved in producing successful daily talk shows on Sirius XM Progress including studio/technical operations, promotion, production, guest booking, call-screening and research.
Job summary: With its broad roster of new stars and legendary artists, Warner Music Group (“WMG”) is home to a collection of the best-known record labels in the music industry including Asylum, Atlantic, Cordless, East West, Elektra, Nonesuch, Reprise, Rhino, Roadrunner, Rykodisc, Sire, Warner Bros. and Word, as well as Warner/Chappell Music, one of the world’s leading music publishers, with a catalog of more than one million copyrights worldwide.
Job summary: We are currently seeks a creative, hardworking Marketing Coordinator to work closely with the members of our Retail Events division in the planning, coordination, and execution of our daily events inside some of the nations largest retail stores. Our high volume, customized events are a direct result from the unmatched work ethic and ability to “think outside the box.” Every team member is hands on at the actual events and is able to see the direct results of their marketing efforts.
Job summary: Join us in being a part of the global music community by shaping the delivery of digital sheet music. Musicnotes.com is seeking a full time Content Acquisition Assistant who excels in managing the details including database management, file indexing, acquisition, and organization. Successful candidates will have experience and an interest in music research and analytics in this data-driven opportunity.
Job summary: Do you have a creative, curious, and analytical mind? You will also be responsible for email marketing development and execution for all brands under the West Music umbrella. You will manage the day-to-day campaign execution, list management and segmentation, content and scripting, and deliverability monitoring. Providing strategic insights to the team and senior leaders on campaigns using information gained through various analytical methods will be done regularly.
Job summary: The Senior Coordinator of Email Marketing will play an important role in supporting internal and external clients to build, deploy and test a broad range of entertainment-related email marketing campaigns. This entry-mid level position will also support other CRM elements as well as reporting requests.
Job summary: The Head of Programming adapts departmental plans and priorities and manages his/her team to create and continuously improve the monthly TV schedules in order to get the highest possible number of viewers on the channel and monthly viewing goals are met. S/he takes a broad strategic view of the programming plans as well as specific market developments, and helps his/her team to make analyses of quantitative data in order to optimize the day-to-day and long-term TV schedules and overall channel performances.
Job summary: This successful sponsorship sales professional will be responsible for creating and selling branded, high-impact music marketing programs across our music properties.
Job summary: The Global Social Media Manager will lead the development of the corporation’s social media strategy, and will oversee the execution of plans and tactics around the globe.
Job summary: Harmonix, the studio that created the blockbuster franchises Rock Band and Dance Central, is looking for a Director of Marketing. This individual will play a key leadership role on Harmonix’s publishing team, overseeing our marketing, web, community, social, and playtest efforts. The ideal candidate will have a strong background in marketing strategy, and team leadership, as well as experience launching and sustaining console, digital, and/or mobile games. For many years, Harmonix has worked diligently to build a strong, genuine relationship with our fans. The Director of Marketing will need to continue to foster those long term relationships while using industry-leading marketing strategies to reach new fans and create excitement for our games.
Job summary: The Sr. Director of Strategic Marketing will be responsible for cultivating strategic partnerships for Warner Music Nashville’s artist roster and label assets by a) creating impactful campaigns and promotions to extend the brand, raise the profile of artists and label brands; b) generating new revenue lines to fund creative marketing campaigns; and c) offset marketing costs.
Job summary: Reporting to the Partner Marketing Manager, the Digital Marketing Associate will help Ticketfly clients maximize their marketing potential and promote their events across marketing channels. This role will serve as a strategic marketing consultant to Ticketfly’s top venue, promoter, and festival partners to help drive important goals like building brand awareness, acquiring new customers, and selling more tickets. The Digital Marketing Associate will dive deep into client marketing activities to develop marketing plans and campaigns, guide implementation, and measure results.
Job summary: The sales analyst will be responsible for reporting and analyzing sales data for the STAPLES Center and L.A. LIVE Sales & Marketing Department. Person will maintain an accurate sales reporting system for various events at STAPLES Center, Nokia Theatre and L.A. LIVE as well as provide management with a monthly commission report for 25+ sales representatives. The sales analyst will also be knowledgeable in CRM, assisting in analyzing customer accounts and identifying efficiency tactics amongst the department.
Job summary: This successful sponsorship sales professional will be responsible for creating and selling branded, high-impact music marketing programs across our music properties.
Job summary: At Shazam our users are at the heart of everything we do. We need to make sure that all of our users (old and new) know everything they need to know about our great product as it continues to evolve. We are looking for a brilliant Copywriter to join our Marketing team and work across our business to make sure that happens.
Job summary: Conceive, write and create new non-traditional revenue business opportunities including events, sponsorships and other sales promotion opportunities. Participate in annual budget planning and individual event budget planning. Ensure that the department hits their revenue goal Attend and participate in sales meetings. Assist in the training of account executives on how to sell events and on Knowledge-Based or solutions-based selling. Provide ongoing sales training to the staff. Assist in the brainstorming of categories to call on for events. Assist General Sales Managers in managing the New Business Development account lists. Create a list of targeted accounts for the following business development opportunities: manufacturer-driven, dealer group and retail-driven programs; corporate sponsorship and event marketing; and from the following industries; automotive and automotive aftermarket, consumer packaged goods, distilled spirits, financial services, health care, home builders and home improvement, health care, pharmaceuticals and wireless.
Job summary: The Social Media Coordinator will assist the Senior Social Media Manager with social media campaign management, including both branding and campaign-specific. The ideal candidate must be very well-versed in the digital world – including familiarity with popular websites, blogs, social media environments, mobile/apps; as well as a strong knowledge of and interest in newly-emerging platforms and industry trends.
Job summary: Client Development is the initial point of contact for touring partners and works directly under the CEO to cultivate and maintain exceptional relationships with new and existing tour partners. Ideal candidates for this position have an extensive knowledge of the touring industry with more than 5 years of professional experience and an established network of music industry contacts. This position is full time with the possibility of travel and after-hours availability needed.
Job summary: The Percussion Social Media Specialist position is a full time opening in our Product Management Department. The Percussion Business Unit at DAddario consists of some of the strongest, most active and well-respected consumer brands in the global percussion industry: Evans drumheads, Promark drumsticks, and Puresound percussion accessories ” each with a unique and engaged community. The Social Media Specialist will manage our social networks and online community design and implement artist and product launch campaigns utilizing assets created by our in-house photography, video, and design team.
Job summary: The Velocity Integrated Marketing (IM) Music and Entertainment team is looking for a long term freelance Director of Social Media reporting to the VP of IM Social to support the linear and digital IM team. This position will cover the ideation, innovation, and implementation of client specific programs that involve social media. The ideal candidate will have proven success in developing and measuring social media promotions based on specific client objectives, as well as assisting in the valuation behind them.
Hello, everyone! It’s a thrill to learn you’ve found time amidst your busy day to spend a few minutes on our blog. Everyone seems to be talking about Taylor Swift lately, so it only seems right that we chime in with our two cents as well. We are fans of her music, even if not everyone on our staff is willing to admit that fact publicly, but we cannot help being a little unhappy with the real reasoning behind her move against Spotify. Read on to find out why.
This blog exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.
Taylor Swift has been the talk of the music industry for a little over two weeks at this point, and if her marketing team continues their efforts our obsession with her every move could easily stretch into December. This is certainly good for Taylor, who has a new album on shelves and a world tour in 2015 that needs to move tickets, but it’s also good for the music business. Why? Because the things Taylor Swift has us talking about are the same topics we have been needing to address as an industry for some time. Streaming payouts are low, but the general consensus is that more and more people are embracing them as their main source for new music. How do we fix this? Can it be fixed? I don’t know the answer to either, but over the weekend we learned a little bit more about the reason for Taylor’s sudden disappearance from Spotify earlier this month.
Speaking publicly for the first time since Swift pulled her catalog from Spotify, Scott Borchetta, the CEO of Taylor Swift’s record label Big Machine says that her music was pulled from Spotify because the streaming platform refused to restrict her new release to its premium paid service. “We never wanted to embarrass a fan,” Borchetta told Nikki Sixx during his Sixx Sense syndicated radio show Friday. “If this fan purchased the record, CD, iTunes, wherever, and then their friends go, ‘Why did you pay for it? It’s free on Spotify.’ we’re being completely disrespectful to that superfan who wants to invest.”
To clarify, Borchetta is referring specifically to Spotify’s free service, which allows non-paying users to enjoy the content offered on the platform without committing to pay a monthly fee for access. It’s not streaming itself he’s against, which is exactly why Taylor’s music can still be found on services like Rdio or Beats Music. Their catalogs are only available to users who have paid a fee for access. The payout to Swift per stream is still low, but it is above zero.
“We determined that her fan base is so in on her, let’s pull everything off of Spotify, and any other service that doesn’t offer a premium service,” said Borchetta. “Now if you are a premium subscriber to Beats or Rdio or any of the other services that don’t offer just a free-only, then you will find her catalogue.”
These statement differ from the reasons Taylor Swift initially offered for removing her music from the popular streaming service. When news originally broke of the removal, Swift told the press:
"If I had streamed the new album, it’s impossible to try to speculate what would have happened. But all I can say is that music is changing so quickly, and the landscape of the music industry itself is changing so quickly, that everything new, like Spotify, all feels to me a bit like a grand experiment. And I’m not wiling to contribute my life’s work to an experiment that I don’t feel fairly compensates the writers, producers, artists, and creators of this music. And I just don’t agree with perpetuating the perception that music has no value and should be free. I wrote an op-ed piece in the Wall Street Journal this summer that basically portrayed my views on this. I try to stay really open-minded about things, because I do think it’s important to be a part of progress. But I think it’s really still up for debate whether this is actual progress, or whether this is taking the word “music” out of the music industry. Also, a lot of people were suggesting to me that I try putting new music on Spotify with “Shake It Off,” and so I was open-minded about it. I thought, “I will try this; I’ll see how it feels.” It didn’t feel right to me. I felt like I was saying to my fans, “If you create music someday, if you create a painting someday, someone can just walk into a museum, take it off the wall, rip off a corner off it, and it’s theirs now and they don’t have to pay for it.” I didn’t like the perception that it was putting forth. And so I decided to change the way I was doing things.”
The above is a beautiful and well-worded sentiment about the value of creative expression and the desire to have some control over how people access your work. That said, it does not address the financial aspect of things quite as much as Borchetta’s quotes to Nikki Sixx. This is surely due in part to Taylor’s desire to speak honestly with fans about her own feelings towards streaming, but it’s hard to feel like the initial comments did not also attempt to mislead industry insiders as to the real reason for the change. It was never about how the art was reaching fans, but rather whether or not a pay wall was put in place between fans and the art. Spotify tried to offer fans a direct link to the music that did not require money and they were stopped. Beats, Rhapsody, and Rdio charged people first and then gave them access. It may be a saying as old as time itself at this point, but ‘money talks’ feels relevant once again.
What I find interesting about all this nonsense regarding streaming is the fact neither Taylor Swift nor anyone who works with her have made comments about YouTube. The video streaming platform, which does not require financial contribution of any kind for access to content, has music videos, as well as videos featuring song streams that are taken from phase of Taylor’s career. You can chart her entire existence in the public eye on YouTube, for free, from anywhere with an internet connection. Unlike Spotify however, there is never really an option to support the artist you’re listening to. There is no merch store tie-in, and the payouts for video streams is not exactly something to write home about. Spotify has at least tried to make it easier for artists to promote themselves and hustle merchandise through their platform. What makes YouTube better?
Considering the fact Taylor Swift has yet to pull her music from other streaming services, let on alone sites that offer ‘free’ access, it seems all this fuss over her so-called bold decision to leave Spotify is little more than another successful attempt at fueling the PR engine that keeps the young songwriter’s career in the headlines. Will she see a tiny loss of income as a result of not sharing music on Spotify? Maybe. Will it matter in the grand scheme of things? No. The attention to her music generated by this press blitz will more than cover any lost wages, and even if it doesn’t Taylor has millions at her disposal already. Money talks, but only when Taylor allows it to do so. She is controlling the conversation right now, and that is really what matters most. I just wish she would use to benefit more people than herself.
Hello, everyone! We are continuing our look at life in the music industry this afternoon with the first of two Advice columns for the week. If you have any questions about the content of this article, or if you have a suggestions for a future installment of this series, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
Hunter S. Thompson famously called the music industry ‘a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs.’ While we do not necessarily agree with this sentiment,we can agree the music publishing world is a strange and often confusing place place where things slip through the cracks when no one is looking. If you’re a band working with sites like Spotify or Rdio today without someone representing you in the publishing world who has at the very least a working knowledge of how the business game is played there is a good chance you may be missing out on money that is owed to you. We cannot help you claim monies potentially due, but we can help you better understand the numerous ways independent artists are able to generate income through streaming services.
1. Basic stream payments
There have been dozens, if not hundreds of blog posts written across the world wide web about the lack of quote/unquote “fair” payout to artists from streaming platforms. Many bands have turned to social media with complaints, often citing how thousands of streams resulted in less cash than would be required to fill the same band’s van a single time while on tour. Regardless, there is money to be made here. These payments are often referred to as the ‘master royalty’ or ‘artist royalty,’ but in simpler terms they are fees being paid for streaming your licensed sound recording.
2. Peformance royalties
Performance royalties in the music industry can include any of the following:
a performance of a song or composition – live, recorded or broadcast
a live performance by any musician
a performance by any musician through a recording on physical media
performance through the playing of recorded music
music performed through the web (digital transmissions)
That last one is where streaming comes in. As long as you’re registered as both a songwriter and publisher with a performing rights organization such as ASCAP or BMI, then you’ll receive these royalties. If not, click here for more information on Performing Rights Organizations and how you can become a member.
3. Mechanical royalties
The term mechanical royalty covers any copyrighted audio composition that is rendered mechanically. For example:
tape recordings
music videos
ringtones
MIDI files
downloaded tracks
DVDs, VHS, UMDs
computer games
musical toys etc.
Several online services, including YouTube and Spotify, likely owe you for these royalties. Unfortunately, due to a number of loopholes and similar ‘industry troubles’ many independent artists never see this money without the help of a publishing agent (HFA, for example).
4. Performance royalties for the master recording
This one requires the help of our friends at SoundExchange. They collect performance royalties on behalf of the people who helped create a particular sound recording, including session players, record labels, etc. Spotify pays these kinds of performance royalties to SoundExchange for “non-interactive” plays via Spotify Radio, but not for on-demand streams).If you’re interested in joining SoundExchange, click here for information on becoming a member. Signing up is fast, easy, and best of all – absolutely FREE.
