27 Replies to “October 16”

  2. The first link on digital distribution contracting terminology solidified my understanding how many fronts there are to consider when cutting a deal with a company. This article contextualized my old band’s experience in receiving an Amended Terms notice from our digital aggregator in regard to our past contract. I thought it was cool to, now, recognize that we were involved with “real deal” music business stuff as high schoolers. I got into reading a bunch of articles comparing digital aggregators/distributors. Here’s a link with little non-sense, mostly helpful insight on the slight differences between the main aggregators.

    https://aristake.com/post/cd-baby-tunecore-ditto-mondotunes-zimbalam-or

    1. The second reading definitely pertains to the first link I posted in my first comment. If anything, this article from TMO gave me helpful information about specific rates and format coverage amongst the main DDs. I still recommend checking out this link for a take on these companies differences.

      The first link on digital distribution contracting terminology solidified my understanding how many fronts there are to consider when cutting a deal with a company. This article contextualized my old band’s experience in receiving an Amended Terms notice from our digital aggregator in regard to our past contract. I thought it was cool to, now, recognize that we were involved with “real deal” music business stuff as high schoolers. I got into reading a bunch of articles comparing digital aggregators/distributors. Here’s a link with little non-sense, mostly helpful insight on the slight differences between the main aggregators.

      https://aristake.com/post/cd-baby-tunecore-ditto-mondotunes-zimbalam-or

  3. After reading these articles, it became evident to me that finding the best fit for distributing my music through a digital aggregator, and or streaming service can be a tedious, and somewhat arduous process. It is very important to understand the language used by the many different entities, moreover, how each company or label defines the terms used in the various contracts. Another aspect of determining which company to use is that of finding the right fit for your kind of music (genre). While most would think that the internet is the way to reach economies of scale, the idea is to create sales, and some of these aggregators are tailored for certain audiences, such as those who like indie artists and off brand music. Finally, it is also important to find a service that will give you the most bang for your buck. Some companies rely on their status and branding to acquire brand loyalty and increase their own bottom line, while paying little attention to real customer satisfaction and product services. For instance, Apple and iTunes claim to be the best for music, and while that may be the case for Apple fans, I for one do not buy things just because it has an (i) in front of it. There are plenty of other services that will get you just as much or more play, and there are other services that have a higher rating for indie artists. So, is iTunes the best?
    https://www.digitaltrends.com/music/best-music-streaming-services/
    https://www.mastrng.com/how-to-sell-my-own-music-free/

  5. Reading the websites gave me a lot more insight into the different digital music distributors. Of course we’ve all heard of the more popular distributors like iTunes, CDBaby or Tunecore, but it was very interesting to see how many different ones that are out there. The one that stood out to me the most was the Smith Music Group. Not only do they put your music on all the popular digital music sites, but they offer a lot of physical distribution as well. The most interesting thing to me was that they also distribute through non-traditional places like Boot Barn and Buc-ee’s. It would be intriguing to see how much music is sold in places like that.

    This website goes into depth about everything you need to know about digital music distributing,
    https://blog.landr.com/everything-musicians-need-know-digital-music-distribution/

  6. When i first ran into how you can get your music onto so many places via an online music distributor, i was ecstatic. Further research lead me to see all of these available distributors and many more. The difficult part came with deciding on which distributor to go with, but after many articles and overall reviews of each service, i made my decision. The link in the description is one example of many other websites providing comparisons between a lot of the online distributors.

    https://aristake.com/post/cd-baby-tunecore-ditto-mondotunes-zimbalam-or

  7. Both articles were very informative in providing information about digital music distributors. The main points I took away were the important terminology (such as amended terms, indemnity, governing law, etc) that is key in the distributor industry. Knowing these terms will help anyone doing business with these companies better protect their copyrights and money. I also learned about new digital music distributors, their fees, certain requirements, and a description of their company.

    Before this class, I was ignorant to the detailed role these companies played in the music industry and the influence they have. They’re obviously very important for any artist to get their music on online platforms and to their fans. One thing I was interested in knowing more about is how an indie artist would go about finding/picking a distribution company. The following article discusses such as well as a comparison of the biggest digital music distributors and what to do after finding one: https://blog.landr.com/everything-musicians-need-know-digital-music-distribution/

  9. There are many options and platforms to consider when finding a digital music distributor. The second link provides many options and a breakdown of each. When choosing a distributor, you should consider the retailers, UPC and ISRC code fees, and the contracts, registration process, exposure and royalties. It really all depends on how you want your music distributed and what you expect and want to get out of it. The common terminology article acts as a reference sheet to better understand the technicalities of the different platforms when researching them.

    It is important to do the research before settling on a platform as this could be vital for success and exposure. Here is an article that goes into more detail about what to consider and know before choosing a platform.
    https://financialhighway.com/digital-distribution-platforms/

  10. The articles are fantastic in giving a brief explanation of what a digital aggregator does for the artist. However there aren’t many logistics that are explored deeper within the article, particullary the submission process and requirements weren’t expressly stated from what I saw. This blog post i found dives further within the topic; as many other have provided, yet i wanted to focus on the international aspect of digital aggregation.

    http://www.hypebot.com/hypebot/2013/11/the-indie-musicians-guide-to-digital-distribution.html

    This is a deal back in 2002 that UMG made with On Demand Distribution (OD2) which was Europe’s leading digital aggregator at the time and they acquired it and OD2 became apart of UMG; Which boosts value of having deals with the companies that have the deals with digital aggregators in international companies, as then it exposes the artist to different markets and more streams. What’s particularly interesting about Europe and streaming music , is that it accounts for %31 of total industry revenue, meaning it is significant for an artist to have an open door to that portion of the market. (refer to first article)

    To learn more about the deal with UMG and OD2 in 2002:
    https://www.universalmusic.com/universal-music-international-announces-european-digital-music-deal-with-od2/

  11. With the growing popularity of streaming platforms, it becomes increasingly more important for artist to find ways to capitalize on those platforms. These two article do a good job of explaining some of the lesser known side of using digital aggregators, but i felt there needed to be a little more information so that i could at least have a better understanding of what they are, what they provide, and how they work. The article I found works really well with the two articles Dr. Renard posted, which explains some more functions, rules, and uses of digital aggregators. Also, the website linked is a great resource for any independent artist who writes, records, mixes, masters, and releases music without help of a label.

    https://theproaudiofiles.com/digital-music-distribution/

  12. The first article really puts into perspective how thin the glass is when it concerns working with different music distributors and contracts. It could be rather intimidating to an artist who is barely beginning to enter the industry. While one may be able to keep most if not all acquired revenue when operating on their own, they do not have the credibility and leverage with retailers that trusted distributors have, while on the flip side, distributors use their leverage and legal terms to lock you into an agreement that may be costly if you don’t know what you’re doing. That’s why it’s important to have good music and a plan with long and short term goals before entering the market.
    The second article provides a lot of names of music distributors but the info is rather lacking and dated. Humorously, a summary for one of the distributors mentions the benefit of having a link to one’s Myspace page being easily accessible

  13. The second article was extremely interesting to me because aggregators are the “now” and the “future”, in my opinion. I’m glad we got a post on this because I enjoyed the lecture Dr. Renard gave when he listed out which aggregator pays what, from highest to lowest. Some people would rather be played more as opposed to being payed more. I would personally like my voice to be heard more than my pockets. Influence is, and always has been, a great tool used to mold the world as we know it today, and what quicker way could someone do that than through digital aggregators playing your jams everywhere.

    Below is a link which gives a complete guide as to how to sell digital music distribution.
    https://theproaudiofiles.com/digital-music-distribution/

  14. It was encouraging to read through the digital distribution terminology and realize I was already comfortably familiar with most of the terms. In the second article however I realized that due to my inexperience with production and releasing of tracks that I hardly recognized any of the digital aggregators. Despite that, what stuck out to me most is the commonalities between the retailers or sources these aggregators would release music to and how repetitive they all were. Everyone seems to use the same few applications these days and that reminded me of all the monopolies of the music industry that we’ve discussing that have even occurred within this semester alone.

    Here’s an article on the potential effects of these monopolies on the music industry.

    https://www.alternet.org/story/149168/the_growing_impact_of_big-name_music_monopolies

  15. I have worked with digital aggregators in the past, and I have music on various different online media stores. We’ve all (hopefully) heard of TuneCore, CD Baby, and iTunes. However, the aggregator client I went through is a tad bit different than the options listed here. I used a website called Loudr.fm.
    Loudr.fm is a musicians’ distribution client that specializes in delivering mechanical licenses, as well as the actual vending of albums and EPs. I discovered this website through a competition I was entered into when I was still in high school. You can imagine how very little I actually knew about musical copyright and distribution laws. This website made it easy for me to spread my music while not having to worry about retaliation from the original artists I may or may not have used.
    I believe Loudr is a company that will become more prevalent in the music industry, and them working with other companies like CD Baby, Soundrop and Crowdtunes, they are definitely in good company.

    To read more about Loudr, click here:
    https://loudr.fm/faq

  16. Reading the first article really made me realize how the music industry really works. Going over the digital distribution common terminology really have you think before you do when looking for a company to work with. Starting with the Amended Terms I think that one stood out the most just because d the simple fact that they can make changes without telling you I think is really sad and you have to always be up on stuff when dealing with a distribution.

    I found an article that went more in depth on what Digital Distribution is https://www.indiewire.com/2011/10/what-the-hell-is-digital-distribution-heres-7-core-ideas-you-must-understand-51760/

  17. Speaking intelligently about the music business can be hard enough without knowing the terms. Having a reference cites your knowledge base and creates a confidence in your standpoint as a musician, entrepreneur, promoter, or whatever position we may achieve.

  18. I think these sources are important for anyone wanting to be a DIY musician. I think that anyone who starts writing their own music never really understands how difficult it is to actually distribute the music they make (let alone make money off of it.) But these sources are very informative, and can really help anyone who wants to put their music out there. And the articles go a step further and encourage the reader to do more research on top of what its offering them.
    I found this article geared towards DIY musicians about steps other artists have taken to get to where they are in their career.
    https://www.makeitinmusic.com/diy-musician-how/

  19. Both of these articles provided good insight on finding the right digital aggregator and knowing how to interpret whatever contract agreement they use. Different companies use terms in different ways, so its important to know how the company you’re working with uses them in order to protect your copyright. The second article lists some digital aggregators and a brief overview about each. One thing they list that I think is important to know is what retailers they are able to get your music distributed to. Here’s an article with more information on how to get your music on these digital platforms: http://apraamcos.com.au/news/2016/april/how-to-get-your-music-on-spotify-itunes-pandora-and-beyond/

  20. The Texas Music Office website offers many different resources that are truly remarkable and hard to find on different platforms that don’t involve the Music Industry.

    The Links provided give artists valuable information regarding a wide variety of distribution companies with descriptions giving artists specific instructions on the steps they should take when considering a particular company for hire in distributing their music for sale. While the list doesn’t hold all the options available to artists, it does have a wide variety of very well sought after distribution companies.

    Here is a link to an article describing everything an artist needs to know when going about finding a distribution company for hire.
    https://blog.landr.com/everything-musicians-need-know-digital-music-distribution/

  21. I really enjoyed reading the second article because of how much detailed info it gave about distributing your music online, including the digital retailers, physical retailers, fees and further info about the retailing group itself. There are some on there that I have never heard of before so I took the liberty of searching them and found some interesting facts about them. It is important in distributing your music that you pay close attention to all these minor details like fees and such to ensure you are getting the most out of your art. Here is a link to an article about CD Baby that Dr. Renard has mentioned in class before, many of you should find this helpful. https://cdbaby.com/digital-distribution

  22. I had no idea that there was royalty free in which after giving the record company your music you are not allowed to receive royalties for any time your music is played. I feel as though this is unfair to the music creator, but can make sense if they are given money upfront for their music. It almost sounds as a one hit wonder, where they can receive a lot of money for one song and be done. Here is a website going in depth on royalty free songs and companies:

    https://www.google.com/amp/s/www.edmsauce.com/2017/11/09/copyright-free-music/amp/

  23. After reading through both articles, I have more of an understanding about these phrases and streaming platforms. The Texas Music Office is truly a valuable resources for individuals looking to get into the music industry. Another resource I found to help highlight more contents in a contract is…
    https://futureofmusic.org/article/article/major-label-contract-clause-critique.

    The Future of Music Coalition is the group that created the content in the link I posted. They are a non-profit organization outside of Washington D.C. They support proper artist compensation and transparency for artist’s work.

  24. Going through both articles are very informational especially for those who want to release their music online. The Texas Music Office is a great resource and place to have where you can find multiple options and all the information on ways to release your music. As well as the going through all the terminology that way you are not blind sided and can understand what is going on. These websites can be very informational and helpful if you use them the right way. It is also helpful for you to do your own research and look at options that might benefit you more. Here is a guide to selling your music online and more information about the good and bad which you can find here: https://bandzoogle.com/blog/the-complete-guide-to-selling-your-music-online

  25. While I found both of the links to be very informative, the one that caught my attention was the second one about Digital Music distributors. While I had little to no prior exposure to any of the ones on the list I decided to do a little more research on Nimbit. It is free to sign up and after reviewing the website it seems very simple to navigate an get your music “out there”. I believe that a big part of choosing what site to use is efficiency and ease, and nimbit definitely portrays that.

    Here’s a video with more about Nimbit:
    https://www.youtube.com/watch?v=ZVrZD_4uSJc

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