One of the more important pieces of the Music Modernization Act passed in 2018 was the establishment of the Mechanical Licensing Collective. Similar to SoundExchange, the MLC (as it’s commonly referred to) is a third party organization that exists for the purpose of collecting the royalties (mechanical) that are generated from plays on platforms like Spotify and Apple Music. In addition to collecting said royalties, the MLC (like Soundexchange) is also responsible for dispersing those royalties to self-publishing artists and publishers alike, who have registered with them, or who have had their info logged by the Harry Fox Agency.
While music consumption has pivoted away from piracy and downloads, the spectre of the past is once again looming over the industry, as podcasts become an even more dominant medium. Generally unregulated, most podcasts contain at least one musical work, that is likely unlicensed, which means that those episodes you’re downloading are really no different than the unauthorized downloads of the past. So, will the industry coalesce around a standard blanket license to solve this issue? Or, will podcast hosts develop a YouTube-like Content ID system to identify these unlicensed works and prevent them from being distributed? We get answers to those questions and more this week from Jim Griffin (OneHouse), Gabe Fleet (Attorney), and Tom Mullen (Atlantic Records, Washed Up Emo).
When you hear people within the industry referring to “The Black Box,” they’re most likely referring to the growing sum of undistributed and/or undistributable royalties that have been collected on an artist’s behalf by organizations like SoundExchange. What happens with this “Black Box” is a hotly debated topic within the industry, as every collection society that has one deals with these unclaimed royalties differently. Join us as we discuss the problem and its potential solutions with John Simson (American University), Wayne Milligan (TriStar Sports & Entertainment Group) and Steve Ambers (SOCAN).
As we move into 2020, two things have become all the more apparent, artists have to view themselves as small businesses in order to survive, and income streams within the industry are increasingly fragmented. Thankfully, these trends have been tracked for several years in a row, and there are a multitude of services available to bands, artists, and songwriters to help them collect these fractionalized income streams so that they can keep their creative businesses afloat and their rights secure. Join us this week as we explore three such services, namely Jammber, AdRev, and Songtrust.
Since 2015, the Nashville Entrepreneur Center has played host to Project Music, an accelerator program for tech start-ups whose focus is upon creating solutions for the music industry. This first of its kind accelerator program has supported five different cohorts to date, and several members of those cohorts have already gone to market with their unique solutions, as a result of the mentorship and fundraising help they received through the program.
With 2019 coming to an end, it feels like the right time to highlight a few of our audience’s most listened to episodes and of the year, so we’re doing a best of 2019 this week! We went through this year’s stats, and isolated the top ten episodes of the year, and then culled the most informative and/or interesting interviews from that bunch. Listen in as we revisit our interviews with writer Cherie Hu, former Merlin CEO Charles Caldas, and Bayonet Records owner Katie Garcia.