In an email sent to YouTube Music partners this week, YouTube announced that it will change the way it handles publishing.
Currently, YouTube allows rights holders to submit metadata and ownership information to a single global composition record. If there are multiple rights holders, their information is aggregated and rolled up into the “global” composition asset. Then various owners of sound recordings can create relationships (matches) between the “global” composition and their sound recordings. For example, 3 cover song recordings matched to a single “global” composition. However, YouTube is changing this process.
YouTube is doing away with a “global” composition and Composition Asset ID, which all rights holders on the composition would share, and now requiring that rights holders submit a “Composition Share” asset (think of it in relationship to a Split Sheet, the writer/publisher share) and provide their own unique Custom ID to YouTube, which associates back to the composition in the rights holder’s own database (e.g. a catalog number).
Notably, YouTube will no longer create composition to sound recording relationships on behalf of rights holders. It will become more important than ever for right holders to stay on top of their ownership splits and submissions. Furthermore, because YouTube will now rely on rights holders own Custom IDs, it will be important to implement and maintain a clean unique ID database. This could be the catalog number or the same unique ID the publishers use when registering works to PROs via CWR.
Read the full email below…
Dear YouTube Music Publishing Partner,
We are launching a new publishing data model to give you more transparency into and control over how your rights are associated with sound recording assets. In this new model, we will no longer have one “global” composition asset with metadata, ownership, and embedded relationships provided by various owners. Instead, each owner will have their own “Composition Share” assets. These “Composition Share” assets represent only the metadata and ownership information provided by a single owner. Your provided embedded relationships between “Composition Share” assets and sound recording assets will always be applied.
Our current planned launch date for this change is four weeks from now, on Monday, April 3.
This new model will require one major change on your side. Because we will be deprecating our historical Composition Assets and replacing them with a new asset type, today’s Composition Asset IDs will no longer be used. In most cases where you now use Composition Asset ID (including delivery and reporting), you should transition to using the Custom ID field. We recommend that the data you provide in this field always mirror the proprietary work codes that you use in your own database. In order for your Custom IDs to behave in a sensical and deterministic manner, it is critically important that your Custom IDs function as a primary key. That is, every Composition Share must have a Custom ID, and each Custom ID must refer to one and only one Composition Share. We strongly urge you to examine your Custom ID data now and confirm that your Custom IDs refer to only a single work each. If you suspect that this is not the case, please reach out to [omitted] for assistance. We would be happy to send you reports of how you are currently using Custom ID and where any gaps in your data may exist. If your Custom IDs do not function as a primary key in our new model, you may experience errors and ingestion failures.
Because this is a major change, this may require some workflow adjustments on your side. A few important things you should be aware of:
You will have greater control of embedded relationships between Sound Recordings and “Composition Shares.” Any embedded relationships delivered by any publishing partner will always be applied. If partners deliver conflicting data, these conflicts will immediately manifest in the YouTube Content Manager. By the same token, if you do not deliver us a Composition-Share-to-Sound-Recording relationship, we will not create one for you based on other partners’ data. You can continue to create these relationships through CSV ingestions, and we will be adding the ability to delete these relationships in bulk via CSV ingestions. We are also adding functionality to the Content Manager to allow you to edit these relationships directly in the user interface.
Conflicts now exist at the Sound Recording level, rather than at the Composition level. This means that you will see a larger number of conflicts in your conflicts queue. This increase in the number of assets in conflict does not necessarily represent a larger number of views in conflict; conflicts are merely being reported to you on a more granular level. Given that you will now have greater control over embedded relationships, conflicts caused by bad data should be much easier to resolve. When communicating about conflicts with other partners, you should now use Sound Recording Asset IDs instead of Composition Asset IDs.
Asset revenue will be reported at the Sound Recording level, rather than at the Composition level. This means that your asset revenue reports will grow (they will have more lines). To see revenue reported to you at the Composition level, simply pivot the asset revenue report on Custom ID. If you need assistance processing these larger reports, please reach out to your technical account manager or send an email to [omitted].
We recognize that this is a major change that may result in substantial changes to your current workflows. We want to make this change as easy as possible for you and we are here to help and to listen to your feedback. If you have any questions not addressed in this email or on the Help Center, please contact your regular YouTube representatives. To submit feedback directly to our product specialists, please hit the “Help & Feedback” button in CMS. For operational or technical support, please reach out to [omitted]. We will also be hosting office hours and workshops at our New York City office, at our Los Angeles office, and in Nashville in the weeks after the new model is launched. If you are interested in attending, please reach out to your regular YouTube contacts.
YouTube Music Publishing Team
The image featured above is a screenshot of a post on recording artist Lukas Graham‘s Facebook page. This blog entry is about the idea of the Digital Music’s New Fan Conversion Funnel as illustrated by a comment posted in the comments section by Lukas Graham fan, Stacy Angus.
But first, a quick crash course on conversion funnels.
[This article was written by Gray Gannaway and it originally appeared on his website. It is re-published here with his permission.]
YouTube announced the arrival of its new YouTube Music app on both iOS and Android devices. This news quickly follows last month’s announcement of YouTube Red, and may prove to be a useful product for people that primarily listen to music on YouTube. Read on for a quick overview on the new app, including its pros and cons for both fans and musicians.
The YouTube Music app features 3 main tabs at launch: Home, Recommendations, and Liked Songs. The Home tab prominently features “My Station” which is an endless mix of videos based on your music listening history on YouTube. Below that, YouTube provides Genre Stations for the genres they think you’ll be interested in, as well as videos you’ve previously watched or may be interested in.
YouTube Content ID and the MCN (multi-channel network) model has become a booming business for many in the music industry. For many years now, independent artists have looked to MCNs to help them increase and capture the revenues generated against their music on YouTube. Not only does independent artists earn revenue from ads served in and around the videos they upload to their own YouTube channel, but also when ads are served against videos uploaded by other users who use the artist’s music (such as background music for a silly video).
Dae Bogan To Moderate “Online Video & Music-Related Content: Promotion and Monetization Strategies” Panel At The Digital Entertainment World Conference
I am excited to announce that I will be joining the likes of Eddy Moretti (Chief Creative Officer of VICE Media Group), Steve Mosko (President of Sony Pictures Television), Ynoz Kreiz (President of Maker Studios), and Thomas Gewecke (Chief Digital Officer and Executive Vice President, Strategy and Business Development of Warner Bros. Entertainment) as the official moderator of the panel “Online Video & Music-Related Content: Promotion and Monetization Strategies” at the Digital Entertainment World conference next month.
I’ve uploaded some photos from my panel on video distribution & monetization at the Indie Entertainment Summit. My panelists included Darrell Andrews for Omnia Media, Tony Hsieh for Fullscreen, Roberto Fisher formerly of M-GO (Dreamworks/Technicolor JV), Scott Tolleson for SteamyInTheCity Music Collective, and Mike Robinson for BmikeroB Management. Check out the photos here.
I am excited to come back to this amazing event for independent creators, musicians, and filmmakers and present a panel on video distribution and monetization. The panel will dive into video optimization, various distribution outlets, fan engagement methods, and how to make money in the digital era. Panelists includes representatives from Fullscreen, Omnia Media, and more. For complete details, visit www.indieentertainmentsummit.com.
The National Music Publishers Association has sued Fullscreen, Inc. for the monetization of YouTube channels containing thousands of videos with thousands of copyrighted music covered or synched. The way I see it, Fullscreen has 1 of 2 options to resolve this (which I believe will be handled out of court via a nice settlement):
- Enter into an agreement with NMPA to make sure royalties are flowing to publishers through Harry Fox Agency (the same thing YouTube did last year upon suit from NMPA)
- Enter into direct synch and mechanical license deals with publishers and record companies, like it has already done with Universal Music Publishing earlier this year.
The consequence of both fixes will be a reduction in ad revenue it generates from the over 15,000 YouTube channels with which Fullscreen has monetization agreements.
Read the piece in LA Times.
Universal Music Group has entered a partnership with Russell Simmons, Brian Robbins, and Steve Rifkind to launch All Def Music, the first label to exclusively sign, develop, and promote artists on YouTube.
All Def Music will power the All Def Digital (ADD) platform, a multi-channel network also founded by Simmons and Robbins with funding from YouTube, which will produce and showcase a spectrum of talent. Steven Rifkind has been appointed as President/CEO of All Def Music and ADD Management.
ADD is to launch during the third quarter of 2013.