Showing posts with label RIAA. Show all posts
Showing posts with label RIAA. Show all posts

Friday, March 25, 2016

The Official RIAA 2015 Statistics Are Out

The RIAA has released its statistics for 2015 and, as always, there are some surprises. The things to remember about the RIAA is that it works for the record labels (especially the majors), so some stats you have to take with a grain of salt. Here are some of the more noteworthy data points.
  • There was a very slight increase in the recorded music part of the business, with revenues of just over $7 billion, for an increase of 0.09%
  • Streaming accounted for more revenue than any other income stream for the first time, accounting for 34.4% of income, while download sales made up 34%, physical sales were 28.8%, and synch were 2.9% of total revenue.
  • Paid subscription revenue increased 52.3% to $1.22 billion, compared to $800.1 million in 2014, while ad-supported streaming revenue increased 30.6 percent to $385.1 million. All very good news!
  • Revenue from CDs, vinyl and DVDs of albums and singles fell another 10.1 percent to $1.9 billion (although that was less than predicted). CDs fell to $1.521 billion from $1.83 billion the year before based on 123 million CDs that were sold last year, which was down from around 143 million in 2014. 
  • Vinyl sales continued to soar, generating $423 million from 16.9 million album sales and roughly 500,000 singles, an increase of 31.8 percent.
Here's the catch - the RIAA's numbers reflect retail sales, which means that the above numbers don't reflect how much the labels actually received for their music, although wholesale prices are from 65 to 70%.


Monday, March 14, 2016

SoundExchange Introduces A New Song Code Search Tool

ISRC Description imageYou'd think that with so much music existing in the digital domain that it would easy to track down the usage and royalties for a song, but unfortunately that's still not the case. Despite calls for the recording industry, there's no one single search engine that can find that data, but SoundExchange recently came up with a step in the right direction.

SoundExchange now offers an online tool for looking up the ISRCs, or International Standard Recording Codes, that are related to the nearly 20 million recordings in its database.

ISRC codes have long been the standard method for identifying sound recordings, first being introduced in 1986. Each code number is comprised of a two-letter country code, a three-character code for the registrant, two numbers for the year, and five numbers assigned by the registrant. The RIAA oversees the ISRC system in the United States and its territories. The IFPI oversees ISRCs globally.

SoundExchange's search engine allows you to look up an ISRC code by artist name, song title, album, year, version and UPC/EAN. The result can be added to a cart for future reference, which can then be exported to a CSV file so the data can be inputted to a digital service's system. The IFPI also provides a lookup tool it created in conjunction with SoundExchange with identical information.

SoundExchange collects royalties for non-interactive streaming platforms like Pandora and satellite radio only.

As said before, this isn't the ultimate solution that everyone has been wanting, but it's the best solution so far in that it provides cross-check information to make sure that copyright owners are being paid at least in some areas.


Tuesday, March 1, 2016

MP3Skull Owes The RIAA $22 Million

MP3SkullWhen it thinks that there's copyright infringement going against its major label clients, the RIAA shows no qualms about slapping a lawsuit on the service, and it usually wins.

That was the case recently when the association won $22.2 million in damages from the filesharing site MP3Skull, a site that supplies download links to songs by popular artists.

The damages were determined by multiplying the 148 songs submitted as evidence by $150k each.

In this case though, the RIAA might not collect a dime since the identities of the owners is totally unknown.

MP3Skull now operates from the MP3Skull.yoga domain, and it has moved from .com and .to domains when they have been blocked via previous court orders in the UK.

Although the ruling allows the RIAA to size the domain, it can't get at the assets if it doesn't know where they are and who they belong to.

Here's the thing though - with streaming just about everywhere these days where a user can listen to any song at any time, why would anyone be bothered with downloading a pirated song?

The lawsuit may end being a moot point, but at least it shows that the RIAA is doing something to warrant the big bag of money that its clients put into it.


Wednesday, February 3, 2016

1500 Track Streams Now Equals 1 Album Sale

1500 Track Streams = 1 Album SaleThe RIAA announced that it will now count 1500 track streams as 1 album sale when it comes to qualifying for awards like gold records.

This means that 150 streams now equals 1 track sale, thus 10 track sales (1,500 streams) then equals 1 album sale.

It's nice that there's some metric, but there's a big flaw in this logic.

1500 plays of the same song now equals 1 album sale, which is hardly the same thing as a true album sale.

When you buy an album you pay for 10 songs, and although you may not listen to them all as much as the ones you like, you did pay for them all and are exposed to them all.

That's far from the case with the 1500 = 1 logic.

Another thing is that until the announcement on Monday, 100 streams was considered 1 sale, so the bar for a sale has been raised (probably rightfully so).

It's great that the RIAA has announced this metric to reward performance, and although it doesn't seem to be as fair as real sale once was, I can't think of (nor have I read) a better idea of how to measure this.

Ideas anyone?

Monday, November 23, 2015

Gigmor's David Baird On My Latest Inner Circle Podcast

David Baird of Gigmor
David Baird of Gigmor
If you ever wanted to replace a player in a band or find a band to join, you know how difficult the process can be. Finding players of the same interests and proficiency levels really complicate things.

David Baird had the same problem when he moved to Los Angles (just about the last place you'd think that would happen), so the savvy technologist built a new platform called Gigmor that allows not only players to connect with each other, but bands and artists with venues as well.

On this week's podcast David will tell us how Gigmor got started and how to get the most from this innovative website.

In the intro, I'll talk about the implications of Pandora buying some of the assets of the Rdio streaming service, and the hi-res music logo that the RIAA just introduced that seems to cause more confusion than it solves.

Remember that you can find the podcast at BobbyOInnerCircle.com, or either on iTunes, Stitcher and now on Mixcloud and Google Play.

Tuesday, November 17, 2015

The RIAA Introduces A Hi-Res Music Logo And Some Confusion To Go With It

Hi-Res Music logo
While the number of streaming sites that feature hi-res audio is still limited (Tidal and Deezer come to mind), there are plenty of download sites that will happily sell you some very hi-res files for a premium price.

That said, it looks like the RIAA (the major label's lobbying organization) is trying to get serious about hi-res music with the introduction of an official hi-res logo (seen on the left). It's asking distributors to display the logo so music consumers will have no confusion over what kind of fidelity to expect, but it may end causing more confusion than it alleviates.

Interestingly, the RIAA defines high resolution music as "lossless audio capable of reproducing the spectrum of sound from recordings which have been mastered from better than CD quality (48kHz/20bit or higher) music sources which represent what the artists, producers, and engineer's originally intended."

Take notice the 48kHz/20 bit (it's not a misprint). This is a significant difference from what many online services (including Apple's Mastered For iTunes program) call "hi-res," which is 44.1kHz/24 bit.

There's virtually no recording done at 20 bit these days and that's been the case for about 10 years, so why not just make the standard 24 bit, which is what virtually everyone records at anyway? Also, why not just go and make 96kHz the true lower limit of hi-res, like in the real world?

This new logo and definition is bound to cause some confusion in the marketplace where there was little before. This just goes to show how behind the times the powers that be actually are.

According to the press release, "Retailers who have adopted the Hi-Res MUSIC logo include Acoustic Sounds Super HiRez, Blue Coast Music, HDtracks, IsoMike Recordings, ClassicsOnline HD*LL , PonoMusic, and ProStudioMasters. In addition to these digital music retailers, the logo also features on advertising and promotional materials of both independent and major record labels."