Online Marketing

How Spotify’s Playlist Changes Affect Music Artists

The listen account from the discovered on playlists on desktop, which I think is a very disappointing thing to close out yeah there’s. So many interesting arguments I hear about this. What is your respect so from one perspective I can understand you know it was. You know supposed to be like knowing reuse it so much, maybe because all season on mobile, but and also their thinking is probably going to stop like the defect playlists so much.

But I actually think that by taking away this, you lose transparency. So if I’m looking at, if I’m trying to picture a playlist, not a smaller playlist, not going to see smaller artists, I know that that place program and come up on their profile and if the analysis is not correlating to the actual number of followers, then I Know it’s not a good play list. I won’t have that option anymore, to check all right and that’s the interesting thing man, because it’s all about who are you trying to serve at the end of the day? All right, we can say hey this platform is for consumers is not necessarily for artists.

In that way, we use artists to serve consumers, but it’s not necessarily for artists, so it does make things interesting right, because you want to please artists, to the extent that you can serve to the consumers, but at the end of the day it doesn’t they they Try to is Lowe’s politic things where you use an argument that sounds like you’re doing good, really to also take more control over the platform and eliminate some of your competition, because the third-party playlist, you know a real thing right there useful, but you take away from Buddy utility, a from the artist like you say, like it, makes a lot harder to understand.

How do I take advantage of this playlist? Which ones do I want to get on, and I know they say that it’s it helps more so with making sure that people are focused on the quality of playlists and – and you know not gaming numbers and things of that nature, but really it just makes it Yeah, I don’t really find a world where it’s actually better for anybody. No it’s annoying so see, doesn’t make any difference at all to bigger eyes, because obviously those are going to be big, but for independent artists and smaller artists.

It’s a big difference, especially as a lot of artists were tweeting out that it’s um there’s a really valuable free marketing tool and there aren’t many of those around they’re, actually free notice. What everyone yeah yeah. I mean to me, though, at the end of the day I go and overthink it because look if you see you can still see the type of playlists that certain artists on off huh, so you can still reach out to a playlist of the artists you’re.

Listening to and things like, that’s one route right. If I’m, if I’m listening to artists I’ll go to similar artists, I can see what playlist your music has been picked up for, so I’ll just go reach out to those playlist and make sense. You know you can tell still in its own by Spotify or not so, there’s still that path of kind of understanding, the quality of a playlist, which is more how you want to be looking at playlists anyway, but there’s still paths to get there.

And then you can utilize other sites like chart metric, do maybe you’re paying. For you know the professional premium account to start to get an, I feel of which of these you’ve pretty much see the exact same stats or everything in their spot of expires. Take an more orange arm measure, so that’s still there you just have to get some more money. Is that can import things for this side that usually you’ve go on the desktop on Spotify and you go on the ice profile and you would see the five top players there on you’ll no longer have to see the listeners account used to be able to see The playlist, and also this doesn’t impact Spotify thrice at all.

You’d, never see all the place you’re on yourself on your own account doesn’t affect that. You ever see what place you’re on and how many listeners listening to your music, it’s just on the front end for you know the general consumer, general user. You can access it yeah. I mean in that vein. I might actually flip. I mean I I can at least understand in that instance cuz. I they’re trying to say that they don’t want people to follow a playlist based off of social proof.

They want people to follow a playlist based off of whether they like the playlist. Is that what they’re trying to say? Well, maybe – but it doesn’t go far enough because to do that they would remove the followers count from the playlists altogether. Wouldn’t they they’re going to do that? Well, you’re saying the consumer wouldn’t see the playlist, though right they have to see the place. You just can’t see the number of listened to Scott on what I’ve talked about playlists.

Well, that’s what I’m saying they. They won’t see the path, but your argument is that it wouldn’t just be that the consumers can’t see the follower account. You think that if they really care they wouldn’t let anybody feel the follower account yeah. I think so, because obviously they’ve also you can everyone can see the moment I can see the number of other players has got. What you want to know is how people actually listen to that playlist and removing this takes that away to some extent it’s just a list of listeners that are more important than the followers engaged.

I don’t. I actually did. I disagree with that because I think that is a consumer yeah. They should be focused on whether they like it or whether they like a playlist, I’m not nothing more than yeah yeah yeah so but on the back end, there is still utility. If I have a playlist, I’m going to be able to know how many people are following my playlist cuz, I can judge other metrics there’s a lot of reasons for me to understand that.

So I wouldn’t say I don’t know I just like anything. Alright, there’s a lot of websites that don’t allow you having to have an insight on the front end, because it’s not tuned and user experience that allows you to see a lot more deeper into it on the back end, because there’s all these functions to it. So yeah, the other point I made on my newsletter was that oh, my ladies was just on desktop. It wasn’t on mobile apps, which the main way that’s what files used anyway, therefore, will it make much of a difference that part yeah? That part brings things into question like what are you doing or why are you going if you, you know, why are you going to buy this way? Cuz, as you said, is he’s mostly on mobile.

So, what’s the point of just doing your own one or not or not, the other, I guess we have to wait to see fit for this one, but if there’s just a sign of things to come, we’re always going to find on a different way around to Do whatever we need to do?

My favorite musician as of right now.


Online Marketing

Can more than one person own the copyright to a song?

We’re a non-profit legal clinic that helps consumers and musicians. Understand legal issues today we’re talking about songs written by more than one person and who owns what once John Lennon and Paul McCartney wrote their songs for the Beatles. The rest of the band’s members usually would have their input over their contributions.

Ringo Starr the drummer, might decide to add his own cool drum fill George Harrison. The guitarist might write his own wicked solo in rap songs. Generally, each person writes his or her own verse, so each person featured on the song will probably get his songwriting credit. Even when a singer, like Britney Spears, doesn’t actively write his or her music she’ll probably have input on the songwriting process, so she might get a credit.

Even if a song are like Mariah Carey writes her own song. Her producer might rewrite as songwriters work, which means he gets a credit too. Okay, now that we’ve got that established. Let’s talk about how copyright law deals with co-writers, how a co-writing situation works depends on both whether or not the songwriters have an agreement and the nature of that agreement and whether it was written or an oral agreement.

There aren’t any statistics for this one, but chances are that most songs written by multiple people, weren’t made with any official agreements in place. In that case, the song is subject to the default rules of the Copyright Act under the default rules. All co-writers are joint authors of the work where each person is the 100 % owner with 100 % control of the work. Now you probably say to yourself wait: how does that make any sense at all? How can two people own and control 100 % of something examples, make it easier to understand co-writer a can license a song to a record label and make money off of it without asking co-writer be co-writer B can even license a song to a record label if Co-Writer B expressly says he doesn’t want the song sold.

The only thing the copyright laws require is that all Co writers have to share in all profits made from the songs moving on for almost every major label song that was in ten for commercial release. After recording there is a written contract in place, this contract usually spells out expressly how many will be divvied up the way that contracts work in the music industry could be a series of articles in itself, but the two most important things for this question is that These music contracts generally contain three important provisions: payment, credit and rights number one payment.

When analyzing or putting together an agreement with co-writers. You should always know how much money each person gets. If the song is a hit. There are so many ways that people can get paid, but this is a subject for another set of articles. Payment terms for concerts CD sales, online, streaming, royalties and radio play are all things that could be considered number to credit. You should always know who will be named as writers on the song.

These kinds of agreements can be made orally or in writing. But if you stand to make a lot of money off of this song, then you should probably have it in writing. Number three right. Then there’s rights which must be in writing rights means who actually owns the song, so it’s important to have that written down. Like I said a little bit earlier without an agreement, all authors are 100 % owners of the song.

With an agreement, you can actually dictate the share of ownership like 50/50, 70/30 and so on, find out if your co-writer is registered with a publishing company like BMI or ASCAP. If you don’t and there’s a problem with your writing partner, there might be legal trouble. Also, don’t forget that there are two copyrights when you record a song. The sound recording of the song is one copyright. The song itself is a separate copyright, meaning that even if you’ve never recorded the song, you still own it, provided you have the song written down.

Then there’s the recording it’s entirely possible that the producer you’re paying to work with. You has a clause in two standard terms of business. Then he owns part of or all of the song he’s working on with. You there’s also chance that copy laws might just automatically grant the producer ownership sort of like how a wedding photographer owns the copyright to the photos of your wedding, even though you paid them for it.

When working with a producer, it may be best to pay the producer fee or royalty instead of giving him any portion of a cog right, don’t worry we’ll discuss royalties in the next article. It may also be best to donate some money to us to keep these articles going if you like what you see donate on our youtube blog or at new media rights. Org see you later. No, no, like I’m trying to like I’m stuffing my nose.