April 26, 2014

Digital Pioneers Explore the Social Economy of Music

by Peter Munters

Universal Production Music's Gary Gross, CD Baby's Kevin Breuner, AdRev's Ryan Born, Rumblefish's Paul Anthony & ASCAP's Dede Burns

(l-r) Universal Production Music's Gary Gross, CD Baby's Kevin Breuner, AdRev's Ryan Born, Rumblefish's Paul Anthony & ASCAP's Dede Burns. Photo by PictureGroup.

Thursday morning, ASCAP EXPO-goers were treated to a conversation with four gurus at the fore of digital music licensing and distribution. Paul Anthony, creator of Rumblefish, Ryan Born, multimedia entrepreneur and CEO of AdRev, Kevin Breuner, marketing director for pioneering digital music distributor CD Baby, and Gary Gross, the head of Universal Publishing Production Music met in a discussion geared toward maximizing earning potential and market penetration in the rapidly shifting sands of the digital music economy.

Born stressed that "For some independent artists, streaming is generating a lot of income and engaging large numbers of fans."

All four gentlemen had sage advice to offer on this front, explaining that even if an artist remains fully independent, servicing all of his or her own licenses and distribution, there are key strategies like implementing detailed metadata and social media saturation that can amplify their effort.

"Pristine metadata creates success in micro licensing. A lack of metadata equates to an unlabeled box in an infinite warehouse," offered Anthony.

The man behind Rumblefish, a longtime aggregator and collector of music licensing relationships for a host of clients, illustrated the value of teaming up with third party music distributors like his own company, or CD Baby, or the many other services currently cropping up in the digital marketplace.

"We have dozens of partners. We pull songs and put them in those platforms to grow their usage. We do our best to place millions of songs based on their metadata in exhaustive detail. We create BPM (tempo) where we can't find it. We create genres where we hear them."

All four panelists detailed the vast amount of networking and legwork that go into a truly lucrative music marketing plan in this day and age. Born offered specific reasons why joining up with a digital music aggregator to proliferate tunes and increase licensing potential is a boon to any indie artist.

"If you're getting a lot of hits on your channel," said Born, "you are probably getting 10 percent of the money you could be getting...Songs are only monetized through third party aggregators, while YouTube only monetizes video content."

Born conceded that YouTube has recognized the way agents like AdRev really improve their business model, which is good for everyone: "YouTube makes a lot of money from the songs that we have claimed. They listen to us, and that helps increase everyone's livelihood."

Gary Gross added that it is vital to consider what a publisher can do for an artist's catalog, when Universal Publishing, for one, generated 50% of its revenue in foreign territories. The idea struck me, that it is easier for a multi-national company with an illustrious track record to initiate and pursue such opportunities, than it could possibly be for any artist developing their career and music.

From Deezer and Animodo to Tunecore, Rumblefish, Beats Music and Bandcamp, the new music marketplace is brimming with potential avenues for the budding artist to expand his or her business. With companies like CD Baby and AdRev ready to throw all of their resources into the pool it is a very exciting time for music.

It is, however, important to know that YouTube deals only in exclusive micro-licensing agreements and will hold payments in the face of a conflict. Namely, if you are an artist, don't do such deals with two different third party players. Beyond that, the internet is waiting to turn a profit.

These pioneers are working for fair royalty rates paid for licenses and performances online. They are creating and enhancing brand identity. The panelists made several mentions of fighting to extend detection criteria below the 30-continuous-seconds marker that YouTube currently implements for tracking streaming content.

Ultimately, these music revolutionaries are at the helm of a movement to empower the artist and level the playing field between independent music and the money-making opportunity of commercial song.

"Whatever digital store pops up, we will have your music there," explains Breuner of CD Baby. "It will be well-represented globally...Last year, CD sales were up 15 percent through Amazon and other vendors. We look for ways to maximize profits for our artists and their revenue streams."

Connect with #ASCAPEXPO



"The ASCAP EXPO was truly inspiring. It was one of the best weekends of my life."

Michelle Oglevie, Attendee



Where Creators Connect

The Premier Conference for Songwriters, Composers, Artists and Producers

The ASCAP "I Create Music" EXPO puts you in the heart of ASCAP's community of today's most successful music creators for three days of education, networking and inspiration.
Open to all, not just ASCAP members.


*ASCAP EXPO reserves the right to amend the program or participants without prior notice

Sponsors + Exhibitors

RSPE Audio Solutions
CD Baby
City National Bank
MusicPro Insurance
Music Connection
Musician's Institute
Royalty Exchange
Tinhorn Flats
Cre•8 Music Academy
The Women's International Music Network
SAG 2014
prism media
Casio America, Inc.
Fox Rothschild
The Recording Academy
State of Hawaii
USA Songwriting
reamp studios
Society of Composers and Lyricists
The Songwriting School of Los Angeles
IK multimedia
CNN Original Series
The Music Business Registry, Inc.

Media Partners

American Songwriter
Flood Magazine
The Hollywood Reporter
International Musician
LA Weekly
Music Connection
Music Industry Quarterly
Sound on Sound

© Copyright 2014 ASCAP Terms of Use Privacy and Cookie Policy