MediaNet Blog

Why Aren’t All Streaming Music Services “High-Definition?”

Posted by Glen Sears | July 30, 2015 10:31 am | No Comments

high definition lossless music streaming
Historically, the most successful music streaming services have operated using two key formats: MP3 and AAC. Both formats take audio data and compress it by removing parts of the information deemed irrelevant to the listening experience.

This type of compression is referred to as “lossy,” and comes in a variety of bit rates. These bit rates determine how much audio data is removed, and the size of the file itself following compression.

Standard File Sizes (3-minute song):

  • CD-Quality WAV file (uncompressed): 31.7 MB
  • CD-Quality FLAC file (compressed): 15.85 MB
  • 320 kbps MP3: 7.2 MB
  • 256 kbps AAC: 5.76 MB
  • 192 kbps MP3: 4.32 MB
  • 128 kbps MP3: 2.88 MB

Even the highest bit rate (320 kbps) lossy compression reduces a song to 1/4 of its original size. This opens a world of possibilities for on-demand music services to deliver “near-CD” quality at tremendously faster speeds. Apple’s iTunes has sold (and now streamed via Apple Music) 256 kbps AAC files since 2011, and Spotify has offered 320 kbps mobile streaming since 2012.

What changed? Why did people suddenly start craving mobile high-definition music?

Lossless audio encoding like FLAC and Apple Lossless have existed for a long time. Lossless compression is a class of data compression algorithmsthat allows the original data to be perfectly represented by compressed data. Sophisticated algorithms create a file that sounds mathematically identical, at 50–60% the original size.

Pretty cool, right? Get original master recording sound quality at half the size. On hi-fi audio equipment, there is no doubt that lossless audio is fuller, richer, and more faithful than MP3 or AAC. It seems like anyone would want lossless audio, but as with all data — the devil is in the details. Size really does matter, and so do the people on the other end of the stream.

Bigger Isn’t Always Better

The MediaNet catalog contains 42 million tracks in 12 different formats.Let’s pretend for a moment that we only carry 320 kbps MP3, and every track is 3 minutes long. Storing this imaginary catalog would require 298,200,000 megabytes, or 298.2 terabytes, of usable server space.

Compare that with a 42 million track library of FLAC files, which would require 665,700,000 megabytes, or 665.7 terabytes, of usable server space. That’s 223% more space than the highest-quality MP3 library to store, and it isn’t taking into account the metadata contained in the files (ISRC, track name, artist, album, release year, etc).

Lossless audio requires 223% more storage space than high-quality MP3

Even today, server space isn’t particularly cheap. Using Amazon Web Services’ S3 Enterprise Cloud Storage solution, our FLAC library would cost $20,900 each month. Simply to store the files. Compare this with the relatively low cost of MP3 at $9,500, and you can begin to see the problem.

Then add the cost of delivering those files to users. A standard streaming service can easily log over 500,000,000 plays in one month. That means our FLAC catalog would deliver 7.9 petabytes of data to users vs 3.6 petabytes for MP3, every single month. $426,900 vs. $204,300, respectively. That’s 209% more per month to deliver FLAC audio instead of MP3.

In reality, the cost of delivering digital audio could be slightly higher or lower, but can generally be accepted as increasing proportionally with file size. At over double the cost, lossless audio files are a huge strain on storage and bandwidth, as well as existing server architecture.

Many streaming services, especially those just launching, can’t afford that huge infrastructure cost without massive investment.

Your iPhone Will Hate You

So what? Lossless streaming services like TIDAL, Qobuz, and Deezer Elite have found a way to afford the massive infrastructure costs. Why can’t everyone else? The next sticking point is how a service’s music is consumed.

52% of Spotify users consume their music on a mobile device such as a phone or tablet. This means that data throughput is subject to an individual’s mobile data plan.

Verizon’s “More Everything” plan offers users 10 GB of data per month.According to Pew Research, half of all cell phone users listen to mobile music. Let’s assume 50% of their data (5 GB) is available for music streaming.

“Few people really want to pay more to wireless carriers for any data overage charges associated with streaming high-quality music.” — Venture Beat

Using a FLAC streaming service, a user could listen to roughly 315 songs per month, or 10 songs per day. Using an MP3 streaming service, a user could listen to roughly 694 songs per month, or 22 songs per day. That huge discrepancy could cost consumers tens or hundreds of dollars in data overage charges. That’s bad PR.

These numbers don’t take into account the elements of the user interface (album art, UI elements, etc) that are loaded each play. Existing apps must also be re-built with enhanced delivery APIs required to stream lossless audio. All these factors equal a huge strain on a user’s data bandwidth.

Even More Technology Costs

Did you know that codecs like MP3, AAC, and others cost money to use? Every streaming service has to pay a license fee (either one-time or per-play) to the technology company that created the codec. While FLAC is truly free, many other lossless codecs are not.

This problem is compounded when attempting to get permission from a record label to offer music in a lossless format. Labels are understandably protective of their 24-bit masters, as they are a great way to establish copyright. As the gatekeepers of high-definition content, labels are choosy with who they allow to stream content beyond 320 kbps MP3.

Additionally, finding the studio-quality digital masters for every single track you want in your catalog can be difficult when you’re dealing with over 370,000 labels and 500,000 new tracks released each month. (That’s what we handle at MediaNet for our catalog.)

Labels don’t offer a “better than CD” experience to just anyone, and if a service is deemed worthy of lossless audio, it may be required to use certain codecs, licensors, and B2B partners approved by the label. These may not be the same for each label. Each of those partnerships can require additional license fees.

You Probably Won’t Hear The Difference Anyway

When it’s all said and done, is high-definition audio really any better than high-quality MP3? It depends on who you are and how you’re listening.

NPR and The Verge both put that question to the test: Can you tell the difference between AAC, MP3, and FLAC? NPR claims “many listeners cannot hear the difference,” and The Verge found that in “29 percent of the tests, subjects couldn’t tell any notable difference at all.”

29% of people can’t tell any difference between lossless and MP3 audio

While lossless audio might seem like the next frontier in digital audio, it faces an uphill battle: it’s too expensive to do at the same price as MP3. Until server and bandwidth costs decrease significantly, high-definition streaming audio will always be a boutique market.

All things being equal, lossless audio sounds better than lossy audio. It’s simple mathematics. But imagine you’re on the train, at rush hour, listening to music on non-isolated earbuds while conversations are happening 2 feet from your ears. Without a dedicated hi-fi like SONOS or Cambridge Audio, will you really be able to hear the subtle differences in Coltrane’s tenor sax?

Most streaming services aren’t going to invest 223% more to find out.

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FAQ: When Will My Performing Rights Organization Pay Me?

Posted by Glen Sears | July 28, 2015 8:24 am | No Comments

Performing rights organizations, or PROs, are societies responsible for collecting income on behalf of songwriters and music publishers when a song is publicly broadcast. This includes live covers, radio plays, television plays, internet radio services like Pandora, streaming services like Spotify, restaurants or bars, nightclubs, and any other public performance. All these users pay the associated PRO a fee, which the PROs then pay to their registered songwriters.

For a comparison of performing rights organizations, click here.

Given the different processes in digital music, PROs have different distribution schedules. Many times payments will be remitted as much as two quarters following the performance. We’ve taken the liberty of combining all 3 U.S. PRO payment schedules here:


ASCAP, an organization owned and run by its members, is the leading U.S. Performing Rights Organization representing over 540,000 songwriters, composers and music publishers.

April 6, 2015 Domestic Writers July, August & September 2014 (3Q14)
May 11, 2015 International Distribution
June 19, 2015 Domestic Publishers October, November & December 2014 (4Q14)
July 6, 2015 Domestic Writers October, November & December 2014 (4Q14)
August 10, 2015 International Distribution
September 18, 2015 Domestic Publishers January, February & March 2015 (1Q15)
October 5, 2015 Domestic Writers January, February & March 2015 (1Q15)
November 9, 2015 International Distribution
December 18, 2015 Domestic Publishers April, May & June 2015 (2Q15)



BMI is the bridge between songwriters and the businesses and organizations that want to play their music publicly. As a global leader in music rights management, BMI serves as an advocate for the value of music, representing more than 8.5 million musical works created and owned by more than 650,000 songwriters, composers and music publishers.

October 1, 2013 – March 31, 2014 June 30, 2014 September 2014
January 1, 2014 – June 30, 2014 September 30, 2014 January 2015
April 1, 2014 – September 30, 2014 December 21, 2014 March 2015
July 1, 2014 – December 31, 2014 March 31, 2015 June 2015
October 1, 2014 – March 31, 2015 June 30, 2015 September 2015



SESAC currently licenses the public performances of more than 400,000 songs on behalf of its 30,000 affiliated songwriters, composers and music publishers.

Domestic Royalty Payments

January 1 – March 31 (Qtr 1) June 30
April 1- June 30 (Qtr 2) September 30
July 1 – September 30 (Qtr 3) December 31
October 1 – December 31 (Qtr 4) March 31 (next year)

Foreign Royalty Payments

January 1 – March 31 September 30
April 1- June 30 December 31
July 1 – September 30 March 31 (next year)
October 1 – December 31 June 30 (next year)

Monthly Radio Royalty Payments

Have more questions about managing your musical rights and payments? Email us here!

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Have questions about how Medianet can help your digital music business? Ask us here. Want a topic or insight published on this blog? Ask us here. Other questions or comments? Let us know!

Apple Music Takes Major PR Blows, Rivals Find Common Ground, & the Government Wades In (Soundcheck)

Posted by Glen Sears | July 27, 2015 9:22 am | No Comments

apple music jim dalrymple soundcheck

Story of the Week

Apple Music Faces Major PR Problems
Read More:,
Last week Apple Music, previously thought to be cornering huge new portions of the market, was hit with a 1-2 punch of bad PR.

First, U.S. Senator Al Franken (D-Minn.) called for a federal investigation into Apple Music and the App Store’s pricing practices. Apple takes a 30 percent cut of all purchases within the App store. Developers are also not allowed to inform consumers within their App pages that the same service can be purchased on their website, cutting Apple out of the equation. Rules also prohibit apps from including a link to their websites and from mentioning other platforms like Google Play.

“I am concerned about certain business practices that have the potential to limit choices and raise prices for consumers.” – Sen. Al Franken

Second, Jim Dalrymple (former Macworld news editor and tentpole Apple supporter) very publicly dropped Apple Music after an iTunes library bug wiped out large parts of his music library. “At some point, enough is enough. That time has come for me—Apple Music is just too much of a hassle to be bothered with. Nobody I’ve spoken at Apple or outside the company has any idea how to fix it, so the chances of a positive outcome seem slim to none…Apple music is a nightmare, and I’m done with it.”

While Dalrymple later received support directly from Apple HQ and revived “99 percent of my music back,” the bad publicity was already at a fever pitch after being picked up by every tech and music blog imaginable. Not a great week to be Apple.

Other Important Headlines

Spotify Adds Discover Weekly Personalized Playlists – Spotify has launched Discover Weekly, a two-hour custom playlist of music recommendations, based on the user’s library and listening patterns. Read More

Beatport Will Bring Videos, Curated Playlists to Spotify – Despite being competitors, the deal opens up opportunities for highly-lucrative music video and live streaming partnerships. “We’re not just in the streaming or download business, but heavily focused on video.” Read More

Pandora Revenue Rises 30.5% on Higher Advertising Sales – Online music streaming company Pandora Media Inc raised its full year forecast and reported better-than-expected second quarter revenue as it signed up more subscribers and increased its advertising revenue. Read More

Billboard’s First-Ever Nashville Top 50 Power Players List Revealed – Like its other Top 50 lists, Billboard ranks the most highly-powered individuals in the $830 million genre for the first time. Read More

Amazon Now Selling Concert Tickets Without the Extra Charges – As part of its attempt to get into the ticketing business, Amazon is selling tickets to an upcoming festival sans the obnoxious service charge. Read More

SESAC Settles Anti-Trust Dispute With US Radio Industry – The smaller, commercially-owned performing rights organization has reached a settlement with the Radio Music Licensing Committee which includes agreeing to allow a third-party arbitration panel to settle future royalty disputes. Read More

Government Opens Consultation on Tougher Sentences for Online Copyright Infringement – The government announced this weekend that it is launching a consultation on plans to increase the potential jail terms for commercial-scale online copyright infringement to ten years from the current two, which would bring the penalties for commercial piracy operations based on the net in line with the penalties for pirating physical goods. Read More

Also last week, Grooveshark co-founder Josh Greenberg was found dead in his Florida home. He was 28 years old. There was no immediate sign of foul play, injury, drug use, or suicide. Our sympathies go out to his friends and family.

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Soundcheck #008: Your 5-Minute Recap Of Last Week’s Most Important Music News

Posted by Glen Sears | July 20, 2015 11:11 am | No Comments

music transparency berklee rethink music soundcheck

Story Of The Week

Berklee Rethink Music Releases Landmark Fair Music Report, Ignites Massive Debate
Read more:
Last week, Berklee College of Music’s Rethink Music project released a 28-page report on the state of transparency and fairness the digital music industry. The report, backed by industry titans like David Byrne and the Future of Music Coalition, suggests that 20-50% of music payments don’t make it to their rightful owners. The report also details the researchers’ recommendations for repairing the opaque and complex music industry payments ecosystem.

Typically artist payments aren’t a part of public consciousness. With the rise of digital streaming services, leaks of Spotify contracts, and Taylor Swift’s stand against Apple Music, the amount of money independent artists are paid (or not paid) has gained international attention. The question on everyone’s minds: where do the hundreds of millions of dollars in the music industry go?

The Fair Music Report attempts to answer this question, using a combination of industry insight and research. The report recommends a “Fair Music” seal for streaming services, a non-profit rights database, cryptocurrency payments, and education initiatives.

Other Important Headlines

The RIAA Responds To Fair Music Report, Says “This Is An Important Subject” – The RIAA goes on to assert that “some of the report’s findings are flawed,” before going on to point out that while major labels’ revenues have dwindled, the amount they pay artists rose 36 percent. Read More

Why The Music Industry Isn’t Transparent, and How To Fix It Right – “It’s simply too easy for big companies to sit on money because they can’t find out who to pay, or don’t care to know. It’s time to demand more accountability and transparency.” Read More

NPR Follows Amazon in Withdrawing From MIC Coalition – “When Amazon took the lead and left this anti-artist Coalition, after concluding the group was ‘consumed’ with lowering payments to musicians, musicFIRST called on NPR to leave as well.” Read More

Ticketmaster Competitor Ticketfly Closes $50M Series D Round – At its core, Ticketfly is pursuing a smarter, more flexible, more social ticketing platform that challenges Ticketmaster. It is now valued at $85 million. Read More

Blurred Lines Retrial Request Denied, Damages and Distribution Ban Cut – Gaye family attorney Richard Busch exclaimed “thrilled with the decision by the Court,” Thicke and Williams expected to appeal. Read More

Final Paid Edition of Music Magazine NME To Publish This Month – The music industry mainstay will be following the move with a brand new free magazine, launching in September. Read More

Marshall Cranks Out a Phone for Music Lovers – With a focus on music and shamelessly beautiful styling, the phone is equipped with stereo speakers, dual mics and headphone jacks, and hifi lossless audio card. Read More

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Global Record Release Day Changes To Friday

Posted by Glen Sears | July 9, 2015 11:06 am | No Comments

global record day changes to friday
After many long discussions from industry groups worldwide, in February the International Federation of the Phonographic Industry (IFPI) announced it would be adopting a global album release date. According to the IFPI, Friday (not Tuesday, as it is in the U.S.) is the day most global music fans want to receive their new music.

“Their love for new music doesn’t recognise national borders. They want music when it’s available on the internet — not when it’s ready to be released in their country. An aligned global release day puts an end to the frustration of not being able to access releases in their country when the music is available in another country.” – Frances Moore, IFPI

Well music fans, that day is tomorrow. On Friday July 10th 2015, major and major independent labels will begin to release new music on Fridays, instead of the traditional Tuesday. What does this mean for you?

Consumers: New releases will be available for download, purchase, and streaming on Fridays instead of Tuesdays.

Labels: Most digital music providers (MediaNet included) require a week lead time for releases. This means the ideal time to submit your new tracks and albums is the Friday prior to the release date.

Despite opposition from various independent labels on choosing Friday, support is generally high for a global release date. The IFPI has released a viewpoint article detailing the rationale behind the switch. We encourage all labels and consumers to read it.

Have more questions about what the switch means for your catalog? Email us here!

In Streaming, Licensing Means Far More Than A Huge Music Catalog

Posted by Glen Sears | 10:08 am | No Comments

music licensing streaming

Key Takeaways

  1. For every song in a digital music catalog, there is a huge rights and licensing stack that is far more complicated to fulfill.
  2. Without a digital music platform that understands these relationships, potential for lost and escrow revenue increases dramatically.

At MediaNet we regularly see and hear music services touting the sheer size of their music catalog. On one hand, it’s the easiest number for regular folks to get their head around. A service has “this” many songs, and more is better. But where music streaming starts getting interesting (and difficult) is in paying for each song to get played.

The Problem

If you’re a music service, broadcaster, bar, venue, or other licensee of music, managing the process of calculating payments seems almost impossible. The large volume of digital usage, limited availability of ownership data, and the generally byzantine royalty structure all add up to one thing: lost payments.

Billions of dollars of digital payments are administered each year, $6.9 billion in 2014 according to the IFPI.

Rights holder losses are due frequently to old systems, unmatched pay, slow processing, poor ownership data, paper processing, and lack of open markets. We estimate these losses exceed hundreds of millions of dollars.

Content owners and legacy middle men (Labels, publishers, PROs, Societies) that license copyrights have a difficult time tracking, monitoring, and receiving payments from the 1,000’s of licensees in the U.S. and around the world. In addition, it can take up to 18 months for rights holders to get paid through these legacy systems.

These problems are a result of the transformation of music from a physical distribution and licensing framework to a digital distribution and licensing framework. Specifically there are two critically transformative changes: Volume, and License Laws and business models.

The volume of individual music transactions has increased massively. Not by factors of 5, 10 or even 100, but by an order of magnitude in the billions (yes, billions). Billions of lines of usage each month, compared to millions of sales of CDs each year.

License laws and business models are also very different in digital streaming and subscription models, requiring complex calculations and access to ownership data covering millions of content owners. The play of one song can require tracking and paying over 10 different entities, with royalty calculations of a single play monitored down to 6 decimal points (e.g. $.000003).

Incumbent services that have supported the music industry for almost 100 years, services that powered the entire royalty payments supply chain, simply were not designed to handle these volumes. They have managed to “get by” using older analog legacy systems (e.g. spreadsheets) and processes that are cumbersome and have numerous gaps in the workflows. These gaps cause loss of data resulting in loss of ability to properly account and completely pay all rights holders.

The Solution

When licensing, delivering, reporting, and paying on a world-class digital music library, it is imperative that the foundation be built with these things in mind. Any service that isn’t aware of plays and licensing isn’t built for the future.

Many companies are spending their time trying to consolidate and simplify licensing. Some are tracking down any number of the 900,000 revenue streams worldwide.Others are working toward combining mechanical and performance license servicing.

This is all great news. I fully support anyone who is working to make digital music licensing simpler and more efficient. But the question still exists: who will handle the digital fulfillment supply chain? Can they also get rights holders paid?

The answer? Here at MediaNet we’ve built and host a database of rights holdersspecifically matched and linked to Sound Recordings. Every time a song is delivered, we know who needs to get paid and how. Without any need for third parties. No third parties means less translation, better accuracy, and payments accounted for.

This is the way all future digital music platforms need to be built. From the ground up to be ready for any changes in licensing or publishing. A platform custom built to ensure that no matter what the contract says, everyone is getting paid.

If you’re interested in learning more about how MediaNet can help power your service, I’d love to chat! Email me at or follow me on Twitter: @francjohnson

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Soundcheck: Your 5-Minute Recap Of Last Week’s Most Important Music News

Posted by Glen Sears | July 6, 2015 9:34 am | No Comments

facebook music video label talks

Story Of The Week

Facebook In Talks with Major Labels for Music Video Trial
Music videos are Facebook is looking to pull music video views away from YouTube as it pilots a new video platform. As Variety reported, the ad revenue split would mirror YouTube’s — 45 percent to Facebook, 55 percent to rights holders.

A source with knowledge of the talks told Billboard the social networking giant wants to conduct a test run through the end of this year, with selected music videos — chosen by the labels — being presented in the main news feed of users. Facebook is, of course, trying to siphon ad revenue away from Google by offering content creators its own native option.

Billions of videos are viewed online each day. Using social data gathered from its network, video-based ads on its site could prove more lucrative than YouTube ads. If so, it likely won’t take long before all the major and independent labels are on board.

Other Important Headlines

Apple Music Launches To Great Applause On Its First Day… The music streaming platform impresses with human-curated playlists, the Zane Lowe-headed Beats 1 radio station, and artist social connectivity. Read More

…And Then Is Quickly Judged Unimpressive By Many Pundits – Tech writers and industry alums generally point out Apple Music’s desire to be all things music as a flaw rather than a strength. “Subscription services have to make it braindead simple to discover new music and build or replicate a beloved collection.” Read More

UMG-backed Study Finds Recording Sales Would Be 17x Higher Without Piracy – Even with Apple Music’s launch and the success of music streaming overall, record company revenue is still a fraction of what it once was. The study found that a “Piracy D-Day” would lead to an explosive renewal of record sales if successful. Read More

U.S. Music Streaming Market Worth $2.7 Billion By 2019 – As physical and digital album and track sales are plummeting, the music streaming market is growing by leaps and bounds, reaching revenues of $799.0 million, equivalent to 73% of the market’s overall value. Read More

Prince Removes Music From Most On-Demand Streaming Services, Except TIDAL – Prince, an outspoken anti-streaming advocate, quietly removed his entire catalog from major streaming services, with one notable exception: TIDAL. It isn’t immediately clear why it (or Pandora) still carry his catalog. Read More

On Saturday June 27th, music lost one of its most provocative and pioneering bassists in Yes’ Chris Squire. He was a transformative player who redefined bass for a generation of players. He will be missed.

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The Future of Digital Music Delivery Is Already Here

Posted by Frank Johnson | July 1, 2015 1:10 pm | 1 Comment

digital music streaming fulfillment royalties rights management

“Everyone involved in creating a piece of music should be able to rely on income from that music when it’s used.”

Such a simple concept has proven seemingly impossible to achieve. Artists, songwriters, and performers often don’t know when their music is used. The owners of sound recordings expend enormous resources taking legal action to prevent illegal use. Publishers use complex formulas to calculate payments, arriving at numbers that often don’t reflect the total use of each piece of content.

It shouldn’t be this difficult.

Scouring the ends of the Earth, hunting royalties in back corners of the Internet is an effective but temporary fix. 900,000 unclaimed royalty sources is a staggering number, and it’s growing. The back-end pipes of the music industry are broken. Wrapping them in plumber’s tape may slow the leak, but it fills no holes. Rights owners deserve a better solution.

Simply put, the only way to guarantee royalties are delivered to copyright holders is for every music service to sit atop a fully rights-managed content delivery platform.

Right now, when a song is purchased, downloaded, or streamed, that data is sent to a third party. That third party then attempts to connect the right people with the right payments. In many cases the payments and associated statements, each with millions of lines of information, are sent to another company to distribute to the artist and writers.

This is the simplest representation. Many services are much more complicated, adding in layer after layer of complexity. When this complexity yields breakage. someone always loses. In almost every case it is the artists, songwriters, and performers. Their actual take-home pay is truncated and fractured, and it isn’t because companies don’t want to pay them. They’re doing the best they can.

We aren’t here to debate record deals, songwriting splits, or speculate on how much artists should be making. Our experience in the music industry has shown us that contracts even as they exist are not reliably fulfilled. We firmly believe that until someone can say, “Your music was used in exactly this way, you are owed exactly this much,” the conversation can’t truly begin.

This is the world we envision at MediaNet. Every established and disruptive music service perched on a firm foundation, one that is intimately aware of how music is being used and who is supposed to be paid. It might seem like a pipe dream, but we’ve already built it here at MediaNet. It’s already working, and rights holders are being paid.

Using our 15 years of digital music delivery experience, we decided in 2012 that content needed to be tied to rights at every level. If not, it becomes a game of Bad Telephone, where each extra layer of digital music infrastructure adds loss and obscures data. Right now digital music delivery is a Rube Goldberg machine. We’re making it lean and mean, as simple as the Easy Button.

We’ve launched and support some of the world’s best-loved music apps, like Beats, Songza, and The data required to stream digital music at this level is enormous. 4.1 petabytes pass through our servers each month, 8x the volume of data stored in the US Library of Congress.

Taking in track catalogs, assigning deep metadata, resolving duplication, managing infrastructure, and delivering in 11 formats for dozens of B2B use cases across the globe is an enormous undertaking. Managing content, catalogs, and data at this scale isn’t possible for everyone, but we do it every day. Any music service can be integrated into our platform.

Rights-managed digital music delivery is something every artist, songwriter, performer, label, publisher, and rights holder deserves.

The dirty truth no one is telling is that there’s no single fix for digital music. No magic business model. A rights-managed music fulfillment platform won’t solve piracy, and it won’t ensure all rights holders are treated equitably. But we believe none of these greater challenges in music can be faced until a fundamental question is answered: Can you effectively monitor and run your entire digital music supply chain? That is one question we do have the answer to: “yes.” We’ve already built the platform for you. And it’s working.

Our vision of the future of music is simple. We envision a world where the panoply of music services can all confidently and transparently report and pay every rights holder for every single play. To that end, we’ve put our cards on the table and invested in that future. Our goal is to ensure that when a song is played, everyone gets paid.

Imagine that.


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