Spotify Is Launching A New Streamlined Playlist Submission Tool

An email from ADA announcing Spotify’s new playlist submission tool has gone viral on social media, passed between music industry insiders.

Here’s the full version of the email:

Starting tomorrow July 19th, Spotify is rolling out a beta feature designed to help your teams share unreleased music for playlist consideration. As part of this beta period, both the existing processes and this new, streamlined process will co-exist.

Our beta feature will give you a streamlined way to share unreleased music with our global editorial team. This feature will be available to you in Spotify Analytics and for artists in Spotify for Artists. If you don’t have access to Spotify Analytics, you can reach out to your central team to get access.

“Beta” means this is the first step in making our playlist process better for our partners and for artists. This is a big focus for us, and we’re going to continue to work to make the process better. We definitely encourage you to try out this feature and share any feedback you have with me, so we can continue to improve the product.

Click here to download a pdf overview Spotify has provided. https://adamusic.app.box.com/s/a6bg9iz4u100j9we14ua4014px3m9bc1

Current open questions communicated to Spotify:
– Visibility into which editors have listened to the track
– Ability for editors to insert feedback
– Functionality to get unfinished music to editors
– Functionality to pitch released music – Label filter

Here are guidelines/FAQs we have complied to assist you with this new process:
– How is music pitched?
Music can be pitched from within Spotify Analytics or Spotify for Artists. The track has to be delivered via our standard feed, with an upcoming release date. All pitch-able content is contained in a new ‘upcoming’ tab in the Catalog view within Spotify Analytics.

– Who can pitch music?
Anyone with Spotify Analytics and/or Spotify for Artists access can pitch music.

– What happens if the wrong track is pitched, or if we decide to change the focus track?
Pitches can be overwritten. Spotify will consider the most recent pitch. Submissions show the name of the person who submitted a track, and when the submission was made.

– How long does it take from delivery to ingestion in Analytics?
Product should be visible in Analytics shortly after Spotify has received delivery from the ADA feed.

– I have music that’s not finished but want to share with Spotify. Can this be done?
At the moment, this tool is designed only for music that has been delivered via the feed. Spotify has suggested that we submit music for ingestion via the feed as early as possible. However, music/release planning meetings for long-lead projects should continue to be utilized as a forum to play music for editors in advance.

– What about music that has already been released?
We cannot pitch music through this tool that is already released. Continue to use forms in the short term (although these will be phased out eventually) and communicate priorities directly with the Artist & Label Marketing Team, as well as editors, when relevant.

– What information needs to be provided for a submission?
The follow criteria has been outlined:
Genre
Music culture
Mood
Language
Recording Type
Instrumentation
Artist Origin
Song Description
Marketing Details

– What editors will receive my music?
All submissions are global, meaning all relevant editors based on the criteria submitted will receive the pitch. We have been advised that updates and advance music links should be sent to Artist & Label Marketing team as well as appropriate editors when applicable, but the new process should also be followed.

– If submissions are global, what if local markets want to pitch different tracks?
We will not be able to submit different tracks in different markets. The repertoire owner will be responsible for which track is pitched, but please follow up with local editors to reiterate these track priorities.

– How much music can be pitched each week?
There is no cap on how much music you can pitch weekly. However, you can only pitch one track per product.

– What if you decide to pitch a track from an album?
A pitched track from an album will be highlighted as a priority to editorial, as well as for Release Radar. However, the full album will be available to editorial for programming.

– Release Radar Impact
Pitched tracks will be prioritized within the algorithm for Release Radar playlists. Tracks must be submitted 5 business days prior to release for Release Radar consideration.

– What will happen to the Google Forms we’ve been using?
The current Google forms will continue to run for a period as we transition to the new system. Phase-out has been tentatively scheduled for October 1, 2018.

I wonder how this will affect the numerous Spotify playlist submission services out there.

Here’s Why I Refunded 100% Of Our Revenue To Every Single Paying Customer, For Four Months

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A LESSON ON CUSTOMER SERVICE DURING THE MOST DIFFICULT OF TIMES:

I’ve just spent the last several hours personally emailing (original email at the very end of this post) and refunding every TuneRegistry​ customer who made a subscription payment since my departure at the top of March 2018.

I’ve refunded each and every one of these wonderful music creators and rights-holders for every day that my co-founders and I were unable to oversee the operations and support of the technology that we sacrificed 3 years to build and grow.

For four months, we were unable to perform the quality service and support that we pride ourselves in providing. For four months, we were unable to deliver on our promise shaped by the value proposition that attracted our customers. For four stressful months, we were unable to push forward our mission to empower music creators and rights-holders.

And while returning over 4 months of subscription revenue is something no entrepreneur would ever volunteer to do, I do not believe that any customer who supports you, who believes in you, should have to pay the price for changes in upper management that impacts the service.

Today, hundreds of refunds were sent out. Here’s a few customer reactions:

“Hello Dae, Thanks for reaching out that was a great thing to do. The refund would be cool, however, I still want to keep the service. Thanks again.” – Dean

“Dae, Congrats on winning TuneRegistery back! Must feel good. I look forward to getting back on the platform and utilizing your updated services. Loving your work!” – Amishar

“I am glad things will be restored back to normal.” – Octavia

“Thank you for your honesty.” – Kristen

“Good afternoon Dae. I really appreciate your concern with regaining rapport with your customers and thank you for offering the refund!” – William

“Thanks Dae! I’m stoked you’re back at the helm and am looking forward to using the new platform!! Thanks!!” – Andy

“Thank you for your courtesy!” – Tiffany

“Thank you for taking over again. ” – Aleisha

“Welcome back, I’m looking forward to working with you and the renewing platform.” – Sadiq

“I am very happy that you are back hoping to continue working together as it is a great help for us independent producers and composers.” – Ricardo

“Hi , I kept my faith and you guys prove me well.” – Jabari

“Thank you SO much. I really wanted to enjoy this service, and I hope to continue to work with your program! ” – Eugene

“Thanks you for this email I was very upset with the service I am so glad you reached out to me about this.” – Wayne

“Dae, Truly grateful for your response. And look forward to moving forward with you guys. I appreciate this heartfelt message and thank you for touching bases and working to right what you feel are the wrongs. Bless. Thank you” – Allen

“I wish you all the best of luck! It’s great to hear that you’ve gotten back behind the wheel and I look forward to seeing you soar!” – Donny

“I’m glad to hear you are all back and on it. I’m praying the best for you on this endeavor.” – Jesse

“Hi Dae, I accept your apology and refund with open arms! Can’t wait to see what the new services are. Thanks.” – Sean

“Hey Dae, Appreciate this- I have been aware of your situation and completely understand. A refund would be appreciated, but I would love to give the platform another shot once you have things back to your standard. I wish you and your team the best in this, and I appreciate the insight you’ve given me in the past, thanks man!” – Tom

“I accept and would love to use your service with you back in charge again.” – Zachary

“Welcome back, Dae, Shane, and Kara!” – Jordan

Honesty is the way to begin building back rapport with frustrated customer base.

Subject: A huge apology from the co-founders of TuneRegistry

Hi Greg,

My name is Dae Bogan and I am the founder of TuneRegistry. I am contacting you in regards to your experience with TuneRegistry over the last four months.

Unfortunately, the TuneRegistry co-founders (myself, Shane and Kara) have not been apart of the TuneRegistry operations and support for the last nearly 4 months.

TuneRegistry was acquired by Haawk in November of 2017. Due to circumstances, the TuneRegistry co-founders, known for our excellent customer support, departed Haawk in early March 2018. Consequently, we have not been able to provide the great support and service that we take pride in providing. To make matters worse, the TuneRegistry platform was not properly maintained during our absence, making it impossible to complete tasks.

The good news is, we just acquired TuneRegistry back a week ago and now have the reigns once again. We will be working to restore operations and support over the next week or two and in the coming months, we will be launching a revamped platform with new features and service offerings.

I apologize for the the poor experience you’ve endured during our absence and would like to offer paid users a complete refund of the last four months. To claim your refund, simply reply to this email or contact us through the in-app messenger.

Kind regards,

Dae Bogan (CEO), Shane Zilinskas (CTO), and Kara McGehee (CPO)

Operation Song

I absolutely love this.

Music Technology Policy

“In a world in which everything is subject to the passing of time, art alone is both subject to time and yet victorious over it.”
― André Malraux

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I wanted to call your attention to Operation Song, a nonprofit run by our friend Bob Regan the songwriter.  It’s a wonderful organization that describes itself:

Operation Song™ is a 501(c)(3) non-profit based in Nashville Tennessee founded in 2012. We pair professional songwriters with veterans, active military and their families to help them tell their stories through song. We hold weekly workshops in Middle Tennessee and sponsor events and group retreats throughout the U.S. Those we serve need no musical background, only the desire to tell their story. In a typical session, the songwriter listens and encourages the participant to lay out the “puzzle pieces” of his or her experience. Together, they arrange those pieces into verses and choruses. The result…

View original post 146 more words

Coexisting Music Ecosystems

music

ICYMI, here’s a wonderful piece by Vickie Nauman on the notion of coexisting music ecosystems. I think it offers a fresh and nuanced look at how elements and traces of overlapping music industries — what Nauman calls Music Industry 1.0, Music Industry 2.0, and Music Industry 3.0 — shape our experiences as music industry professionals and consumers. 

Have a read and lets discuss in the comments.

The music industry careens fast down the highway, stacked high with cargo and shiny objects. Think of the old CD business as the flat bed, the current digital industry as its loosely tethered, bulky freight, and artist-driven initiatives as sparkly crates hitched on top. Failed startups litter the rearview mirror. Yet all are tied together in a zigzag of relationships and common building blocks.

In practical terms, we’ve got three different music industries operating simultaneously.

Continue reading here.

Is Michael Beckerman Wearing Your Safe Harbor?

Music Technology Policy

As MTP readers will recall, I prefer to think of Big Tech’s various safe harbors like the CDA, DMCA and now the MMA as an income transfer.  It’s not that the money isn’t getting made, it’s just not getting made by the people who created the value.

For example, when Google profits from selling ads against infringing videos, that money doesn’t disappear, it just doesn’t go to the artist.  So where does it go?

Well…according to a recent article in Modern Luxury “Men of Style,” it appears to go into Michael Beckerman’s shoes.  Michael Beckerman is the CEO of the Internet Association, Google’s main lobbying shillery in DC.

Michael Beckerman

That’s right–$4,950 shoes.  But no socks.  Now that’s what I call an income transfer.  Looks like DMCA safe harbor on his feet, CDA for his watch–what will he buy himself as a reward for the MMA reachback?  Maybe a little poker in…

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My Statement On TuneRegistry

I have received several messages regarding poor customer support and unresolved technical issues from TuneRegistry users who’ve signed up as a result of my evangelism over the platform that I co-founded to empower indie rights-holders, especially DIY musicians, with a tool to be their own publisher.

I am making this brief statement because I feel it is necessary.

I founded TuneRegistry in 2015 and the 1.0 platform launched March 2017 at SXSW. It was acquired by HAAWK in November 2017. The original co-founders, including myself, were hired into HAAWK as employees (we also brought over some of our dev contractors) as part of the deal. Long story short, things did not work out and all of us departed Haawk the first week of March 2018.

Over the last nearly 3 months, TuneRegistry has had no maintenance nor sufficient customer support and it breaks my heart because my co-founders and I sacrificed years of our time, energy, effort and our own money (we completely bootstrapped it) to bring TuneRegistry to market.

The good news is, I am in the process of acquiring TuneRegistry back from Haawk and running it independently once again.

We have many industry partners and initiatives lined up to make TuneRegistry bigger and better. The deal should be closed in the coming weeks and I will have TuneRegistry under my control once again.

TuneRegistry will continue to enable artists to be their own publisher in the United States, enable artists to collect 100% of their US publishing royalties and retain 100% of their copyrights until such time as you choose to share your legacy with a worthy publisher.

— Dae Bogan
Co-founder, TuneRegistry

P.S. Learn about being your own publisher. Download my free ebook “The DIY Musician’s Starter Guide To Being Your Own Label & Publisher” at http://www.daeboganmusic.com

[Photos] ASCAP “I Create Music” Expo

I had a wonderful time speaking at this year’s ASCAP “I Create Music Expo”.

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May 8, 2018 – Source: Maury Phillips/Getty Images North America via Zimbio

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May 8, 2018 – Source: Maury Phillips/Getty Images North America via Zimbio

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May 8, 2018 – Source: Maury Phillips/Getty Images North America via Zimbio

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May 8, 2018 – Source: Maury Phillips/Getty Images North America via Zimbio

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May 6, 2018 – Source: Alberto E. Rodriguez/Getty Images North America via Zimbio

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May 6, 2018 – Source: Alberto E. Rodriguez/Getty Images North America via Zimbio

Dae Bogan To Join Panel On The Future Of Rights Technology At A2IM Indie Week In New York

a2im indie week dae bogan speaker

Dae Bogan will join Shanna Jade (Director of Brand Strategy, Stem) and Rob Weitzner (Head of North America, The state51 Music Group) on the panel “Future of Rights Technology” on Wednesday, June 20th at A2IM (American Association of Independent Music) Indie Week conference taking place at the Clemente Soto Velez Cultural and Educational Center in New York. The panel will be moderated by Anna Siegal, SVP FUGA North America.

For more details, visit https://a2im.org/event/a2im-indie-week-2018/

Congress Is Giving Musicians First Chance of Fair Pay in Decades


“‘The MMA gives a digital service like Spotify or Amazon a more convenient way of licensing songs,’ Dae Bogan, founder of music management platform TuneRegistry and a longtime music rights advocate and executive, explains. ‘And it opens a potential windfall of income to legacy artists who were left out of the digital boom.’ But Bogan adds that the legislation doesn’t come close to fixing all, or even most, of the problems in music royalties for labels, publishers and musicians; the simplified processes just make it more likely they’ll get the money they’re due.” via RollingStone

Read the full piece here: https://www.rollingstone.com/music/news/congress-is-giving-musicians-first-chance-of-fair-pay-in-decades-w520301

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