Data

PPL: We have lagged behind other industries in identifying opportunities to collaborate.

For a long time, every Collective Management Organisation (‘CMO’) having their own set of systems and databases was the norm. It was as if being totally self-sufficient was a badge of honour, rather than the result of a properly considered assessment of the economics and risks. To any rational observer, we have lagged behind other industries in identifying opportunities to collaborate and share back-end infrastructure, but things have been changing in recent years.

Source: ‘We have lagged behind other industries in identifying opportunities to collaborate.’

Mollinder: How royalty payment data impacts creators on a personal level 

The ‘black box’ of music streaming is undeniably the biggest problem affecting the global music industry today, as royalty payments to the tune of roughly £500million each year fail to reach the correct creditors. The root cause of the issue is data mismanagement and, with 60,000 tracks added to DSPs such as Spotify each day, the black hole will only continue to grow unless the proper tools and education are made available to the next generation of music creators.

Source: How royalty payment data impacts creators on a personal level (Guest column) – Music Ally

CISAC reports global progress on metadata and plans wider access to ISWC music identifier

The 2022 report highlights the Confederation’s diverse services including lobbying, development of best practices, technology, and the systems to support data exchanges, help identify works and pay royalties quickly and accurately. CISAC has reported “steady progress” for the extension of the ISWC music identifier and improvements in music data reporting. It follows a major upgrade to the system completed in 2020.

Source: CISAC reports global progress on metadata and plans wider access to ISWC music identifier

The Era of Borderless Data Is Ending

Largely unregulated, the flow of bits and bytes helped fuel the rise of transnational megacompanies like Google and Amazon and reshaped global communications, commerce, entertainment and media. Now the era of open borders for data is ending. France, Austria, South Africa and more than 50 other countries are accelerating efforts to control the digital information produced by their citizens, government agencies and corporations.

Source: The Era of Borderless Data Is Ending

VEVA Sound and SoundExchange Announce New Partnership

Built by VEVA Sound, VEVA Collect compiles all creator credits and their associated audio assets to ensure fair compensation to everyone working on a recording. Using exported DDEX RIN files from VEVA Collect with user-stored contributor credits, SoundExchange can retrieve and store this data to create performer lineups for a given recording.

Source: VEVA Sound and SoundExchange Announce New Partnership

Copyright Clearance Center Acquires Identifier Specialist Ringgold

The persistent identifier or PID uses what’s known as the Handle System and Rosetta to give an object or an intellectual property persistent identification across a range of platforms and context, much as the ISBN “follows” the title it identifies through multiple scenarios, functions, and databases.

Source: Copyright Clearance Center Acquires Identifier Specialist Ringgold

Just How Pervasive Is Streaming Fraud?

For years, the music industry has whispered about the dangers of fraudulent streams, which boost some artists’ play counts and skew royalty payouts. This activity takes place covertly — often hidden with technical measures, such as bot networks — so it has been hard to get a sense of the scale of the problem, let alone what might be done to address it.

Source: Just How Pervasive Is Streaming Fraud?

‘If the music industry wants to continue its exponential growth, its data backbone needs to become significantly more efficient.’

Various projects — such as the Global Repertoire Database (GRD) and the Open Music Initiative (OMI) — have attempted over the years to create a more collaborative data culture across the business, but most have not been able to get enough buy-in from enterprise-level companies to fulfill that vision.

Source: ‘If the music industry wants to continue its exponential growth, its data backbone needs to become significantly more efficient.’

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