This post is an attempt to uncover and explain why registrations of songs at US performing rights organizations (ASCAP and BMI) were taking an extraordinarily long time to process in 2020 and into 2021.
If you’re not a music business professional, and would like to learn more about this post with an extended introduction defining some music industry terms and the world of music publishing, the full version of this post is here:
Otherwise, if you have a good grip on music business and music publishing continue on with this abridged version of this post.
BMI writes that:
This post is an attempt to uncover and explain why registrations of songs at US performing rights organizations (ASCAP and BMI) were taking an extraordinarily long time to process in 2020 and into 2021. And will these issues continue?
BMI writes that:
Songs registered online (at BMI.com) show up in the BMI.com Repertoire and Online Services Catalog application the next day. Titles that do not auto-register require additional processing and may take between 1–7 business days to become available.
ASCAP writes that:
It may take up to seven days to process a new registration.
Many musicians rely on a third…
Apple Music for Artists, an analytics platform for musical artists and their management / marketing teams, pulls most of the data related to the consumption of an artist’s music from how their songs are played on the Apple Music streaming service. Yet Apple Music for Artists accesses one more data set.
Apple bought the music identification app Shazam in 2018 which allows consumers the ability to identify songs being played in most environments, and on many devices— at a hotel lobby, restaurant, night clubs, in a car, on TV, etc. …
Launched in November 2020 by creator Ninja Muffin 99 — “Friday Night Funkin’” — is a casual video game available to play on desktop computers. Content related to the music oriented game now clocks over 1 billion audience engagements across platforms like Spotify, TikTok, Instagram, Twitter, YouTube, Soundcloud, Discord and I’m sure other digital platforms of which I am not aware. 1 billion engagements in a very short period of time — we are talking about since the game launched late 2020.
“Engagements” means social media posts, comments, and likes related to the game content, actual video game play, and…
In the previous installment of this series, I detailed seven reasons independent artists and / or their marketing and management teams should focus their marketing efforts on specific streaming services versus being scattershot across the entire world of music retail sales and streaming.
Music Business Researcher and Analyst Keith Jopling of MIDiA Research recently wrote an article for Hypebot called “How Should We Measure An Artist’s Success On 2021?”. The opening sentence of Jopling’s piece reveals a question this blog series “Don’t Split The Streams” is trying to answer — how do we get to a single metric to measure…
Thank you to everyone who is reading this series, since I began writing it at the start of 2020. If you didn’t know it, the title “Don’t Split The Streams” was a meant to be a funny riff on the term “Don’t Cross the Streams” from the movie Ghostbusters. I’m going to continue on with the series but I thought this is a good moment to revisit its impetus.
Part 1 — How musicians choose which streaming and retail services to deliver their music. And a detailed look at how music retailers Traxsource, Beatport and Juno Download allow dance music producers to market their tracks.
Part 2 — The differences in how Spotify and Apple Music count song streams based on music metadata. What do the music metadata fields “remix artist” and “featured artist” mean with respect to stream counts. And a detailed look at Spotify for Artists and Apple Music for Artists and the artist analytics they offer for musicians and their management teams.
Part 3 — How…
Music Data Pro by Chuck Fishman: in depth about music marketing + data — specifically marketing musical artists on streaming services, streaming + radio.