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Metadata for musicians at barcamp philly 2015
- 1. Metadata for musicians Clickhere for Table of contents Presented at Barcamp Philly November 7, 2015 | Philadelphia, PA Kristin Thomson Future of Music Coalition @kristinthomson @future_of_music
- 2. Metadata All the informationthat describes and identifies your music. • Text: composer and musicians’ names, dates, genre • Numeric: ISWC codes, ISRC codes, UPC barcode As music landscape becomes more digital and global, proper metadata is an increasingly important part of your release workflow. Table of contents
- 3. UPC barcode Assembled product 4 ISWCcodes Identify each composition 1 ISRC codes Identify each sound recording/each track 2 ISNI code Identifies the creative entity 3
- 4. ISWC codes Set ofnumbers that identify a composition T-070.076.790-3 “Hotel California” by Don Felder, Glenn Frey, Don Henley Table of contents Composition = the musical notes and lyrics, what you’d see on sheet music ISWCs are unique. Each composition can only have one ISWC Like a social security number for a composition International Standard Musical Work Code
- 5. ISRC codes Set ofnumbers that identify a unique sound recording US Z10 15 12345 Country Company prefix Year Unique digits Table of contents Sound recording = what’s captured in the studio, and what ends up being commercialized on albums, singles, streams Each recorded track on your album will have its own ISRC International Standard Recording Code One single composition can have many ISRCs (original recording, covers, live versions, re-mastered versions)
- 6. ISNI Set of 16numbers that identify an individual creative entity Helps to match works to proper person with similar/same names John Williams famous film score composer vs. John Williams guitarist 0000 0001 2031 4590 ISNI for Brian May from Queen, who is also an author and an astrophysicist Table of contents International Standard Name Identifier Helps with creators who work in more than one field Brian May: composer, guitarist, scientist, author
- 7. UPC barcodes Set ofnumbers that identify a packaged collection of music 71875 18828 2 - 9 Table of contents Company prefix 5 unique digits Format Random check digit UPC barcodes can be assigned to albums or singles, whatever is being commercialized and made available in retail Unified Product Code
- 8.
- 9. Song title: Composer/songwriter: Artist: Album release: Original release year: Record label: Rock YouWillWe “We Will Rock You” Brian May Queen News of the World 1977 EMI in UK
- 10. ISWC for BrianMay’s composition: Brian May’s ISNI: IRSC for Queen’s recording of this song: UPC for News of the World LP vinyl: Original release year: Record label: Rock YouWillWe T.010.031.397.0 0000 0001 2031 4590 GB CEE 01 00127 50087 14693 1 1977 EMI in UK
- 11. Composer songwriter Publisher Recording artist Record label When you hear asong, or buy a single Musical composition notes and lyrics Sound recording what’s captured on tape/ what you hear there are two copyrights embedded in the track
- 12. HOW THE MONEY FLOWSBACK TO songwriters, artists, publishers & labels broadcast radio terrestrial broadcast of any AM or FM station PROs ASCAP, BMI, SESACC songwriter publisher performance of composition performance of sound recording How are musicians and songwriters compensated when their music is played on the radio, sold on digital platforms, webcast, or streamed on interactive services? For digital stores and on-demand streams, how the money flows depends on what entity negotiated the license. In the US, terrestrial broadcasters do not pay performers or sound recording copyright owners For record labels that have a direct deal with services: AFM & SAG-AFTRA Fund webcast or digital performance Pandora • Sirius XM • NPR streaming any webcast stations PROs ASCAP, BMI, SESAC*C SR SoundExchange songwriter publisher record label performer(s) 50% 45% 5% performance of composition digital performance of sound recording background singers and musicians * At the end of 2012, Universal Music Publishing Group and Sony/ATV-EMI pulled their digital rights from ASCAP and BMI, seeking to get a higher rate by negotiating directly with webcasters. UMPG and Sony ATV-EMI* UMPG and Sony ATV-EMI songwritersC performance of composition For radio and radio-like services, blanket licenses determine who gets paid, and how much. Music and How the Money Flows infographic futureofmusic.org/moneyflow
- 13. ISWC on thecomposition: Brian May’s ISNI: ISRC codes: UPC codes: Same: T.010.031.397.0 Same: 0000 0001 2031 4590 Different: unique ISRC for each cover track, identifies that sound recording Different: unique UPC for each album that includes a recorded cover Covers of We Will Rock You
- 14. Why metadata isimportant Both ISRCs and UPCs are now required for iTunes store, and many other digital platforms. Can’t upload without them Table of contents But it’s more than a minimum requirement. Metadata is the lingua franca of the global, digital music landscape It underlies discoverability, proper attribution and payment across an increasing number of platforms
- 15. Music’s meta problem You’dthink for something this important, there would be master authentication database(s) Table of contents Nope. There is no master database that catalogs ISWCs or ISRCs Efforts to fix this: 1. Global Repertoire Database 2. International Music Registry 3. US Copyright Office 4. Blockchain? Search either of these to learn about the valiant efforts and why they failed }
- 16. Lacking a globalsolution… Table of contents Recording Academy’s P+E Wing Best practices for producers, engineers and mastering houses. http://grammy.org Record labels Indie and major labels dealing with metadata as part of release prep. Aggregators on the front line Digital aggregators like CD Baby, The Orchard are data pipelines. They have improved their dashboards and data ingestion over the years
- 17. Lacking a globalsolution… Table of contents Music Business Association Works on supply chain standards with retailers Organizes an annual Metadata Summit Infographics and Metadata Standards Guide Music Biz Academies to help startups understand licensing http://musicbiz.org
- 18. Table of contents Futureof Music Coalition Educating musicians, managers about importance of metadata Metadata for Musicians slide decks Workshops for musicians Unique challenges for jazz and classical artists http://futureofmusic.org/tags/metadata Lacking a global solution… Music Business Toolbox Next edition coming out March 2016 Tools and templates to manage metadata
- 19. Table of contents Additionalslides from this talk go into detail about: • What data to keep track of during writing and recording • Where to get ISRCs and how much they cost • How to get ISWCs assigned • Where to get UPC barcodes • What data ASCAP/BMI and SoundExchange need • All the other steps you need to take before releasing your music to make sure it’s properly identified on all platforms Musicians: next steps
- 20. In the studio Preparefor mastering Production work 8. Submit compositions to your PRO 6. Type out lyrics 7. Design artwork, including all credits 10. Register your new album with SoundScan 9. Submit sound recordings to SoundExchange 12. Submit bio/info to Rovi 13. Register works with US Copyright Office 14. Data, artwork, music to aggregator * 15. Other sites/platforms Music Biz Metadata Standards Guide Click on any title to go to that slide 1. Credits: keep track of everyone’s roles & contributions 2. Song titles, album titles, credits, properly spelled 3. Acquire ISRC codes for each track 11. Register with Mediabase and BDS Databases for recognition Prepare for release 4. UPC barcode for the assembled product ISWC codes assigned 5. ISNI number for author/individual Definition The Core Four
- 21. In the studio STUDIOAND RECORDING SESSION DETAILS Studio name(s) Date(s) of recording session Location (city, country) of recording studio(s) Personnel working on the session Executive producer Producer Engineer(s) Arranger Conductor Remixer Mixing Mastering Do any producers have deal points? Table of contents
- 22. In the studio COMPOSER/SONGWRITERDETAILS FOR EACH TRACK Names of songwriters/composers What they wrote (music, beats, lyrics) What % of credit they get for their contribution (aka splits) Name of each songwriter’s publishing company Which PRO they belong to (ASCAP, BMI, SESAC, other) Table of contents Each songwriters’ ISNI number (if they have one)
- 23. In the studio RECORDINGARTIST DETAILS FOR EACH TRACK Names of featured artists/performers What they performed or instrument they played What % of credit they get for their contribution (aka splits) Table of contents Each artists’ ISNI number (if they have one)
- 24. In the studio SESSIONPLAYER/FREELANCERS FOR EACH TRACK Names of any session players/session vocalists/freelancers What they performed or instrument they played Whether they belong to a union (AFM or SAG-AFTRA), and their local number Whether this recording session is a union session Table of contents
- 25. In the studio LICENSES,PERMISSIONS and AGREEMENTS Did you record any covers? Secure mechanical licenses Did you use any samples? Get clearances Various agreements • Intra-band agreement that spells out creator splits • Producer agreement • Side artists’ agreements Table of contents
- 26. Song data trackingworkbook from Music Business Toolbox This template and related pre-release checklists will be available in March 2016. Table of contents
- 27. Preparation for mastering ISRCcodes for each track UPC barcode for the assembled product Mastering engineer will need text-based data: Album title Song titles Performers Mastering engineer would also like to have: Table of contents
- 28. Sample mastering dashboardTable of contents
- 29. ISRC codes Set ofnumbers that identify a unique sound recording Become a registrant at US ISRC http://usisrc.org Get ISRCs assigned for free/nominal cost from your aggregator. US Z10 14 12345 Country Company prefix Year Unique digits or If you are on an indie label, your label will generate the ISRC codes using their prefix number. Table of contents
- 30.
- 31. http://usisrc.org Table ofcontents
- 32. How to getISRCs from CD Baby (video tutorial) Table of contents
- 33. UPC barcodes Set ofnumbers that identify a packaged collection of music 71875 188282-9 Become a registrant at GS1 http://www.gs1us.org/ Get UPC barcode assigned for free/nominal cost from your aggregator (CD Baby, TuneCore, Ditto, DistroKid, etc). or If you are on an indie label, your label will generate the barcode. Table of contents
- 34. http://www.gs1us.org/ Table ofcontents
- 35. ISRC and UPC Masteringengineer can embed the ISRC on each track Add your tracks’ ISRCs to your song tracking workbook. You’ll need to enter them in other places Mastering engineer can also embed UPC barcode Both ISRC and UPC are now required for iTunes store, and many other digital platforms Add your project’s UPC barcode to your song tracking workbook. You’ll reference it again Table of contents
- 36. ISNI Set of 16numbers that identify an individual creative entity Helps to match works to proper person John Williams film composer vs John Williams guitarist 0000 0001 2031 4590 ISNI for Brian May from Queen, who is also an author and an astrophysicist Table of contents International Standard Name Identifier Helps with creators who work in more than one field Brian May: composer, guitarist, scientist, author
- 37. How to getan ISNI Table of contents
- 38. Production work If applicable,type out your lyrics • For artwork • For your website Album artwork • Album name • Song titles • Writer credits (including PRO and publisher) • Performer credits, including any session players or freelancers • Recording studio name, location, date, personnel P • For lyric videos • Can be submitted via your publisher to lyric sites • Record label (even if it’s yourself) • Copyright notice © and • UPC barcode image • Other credits: photographer, illustrator, etc. • If relevant, timed length of songs Table of contents
- 39. Gracenote Write your bio/onesheet • Album name • Song titles • UPC barcode on one sheet Submit your song track data to Gracenote • Free to do • Submission process via iTunes software on your computer • Delivers album and track data to services Table of contents
- 40.
- 41. PRO submissions Composers/songwriters: submityour musical compositions to your PRO • Register your new titles with ASCAP, BMI or SESAC • Free to do if you are already a PRO writer/publisher member • Your PRO will automatically assign ISWC codes to your new titles Table of contents
- 42. BMI works registrationTable of contents
- 43. ISWC codes Set ofnumbers that identify a composition T-070.076.790-3 Assigned by your PRO (ASCAP, BMI or SESAC) when you upload your repertoire Keep track of your ISWCs with your other data “Hotel California” by Don Felder, Glenn Frey, Don Henley Table of contents
- 44. ASCAP ACE searchTable of contents
- 45. SoundExchange Submit your soundrecording information to SoundExchange • Free • SoundExchange has an online interface and a repertoire template • Tracks digital performances on Sirius XM, Pandora, any webcast stations Table of contents
- 46.
- 47. SoundExchange data What SoundExchangeneeds • Artist • Track title • Album title • Record label • % of the Featured Artist Performance Royalty that you claim (aka, your split) • Do you own the master sound recording of this track? Y/N Improve music identification by also including: • ISRC for each track • Album UPC • Release date • Recording location • Distributor (if different from label name) • Publisher Alternate spellings? Different languages? Talk to SoundExchange Table of contents
- 48. SoundScan/BDS/Mediabase Submit your releaseinformation to Nielsen SoundScan • Free to do • Online form • SoundScan tracks retail sales, including downloads from iTunes, Amazon, CD Baby, Bandcamp, and streams Submit your release information to Mediabase (owned by Clear Channel) and Nielsen BDS • Free to do • Online forms available for both Mediabase and BDS • Both services track commercial radio airplay Table of contents
- 49.
- 50.
- 51. Search for “NielsenBDS how to submit music” Table of contents
- 52. Rovi/AMG Submit your bioand data to Rovi for All Music Guide • Free to do • Need to mail a CD + bio • Powers the bios you see on iTunes, Pandora. • AMG is very selective. Acceptance by Rovi/AMG is not guaranteed Table of contents
- 53.
- 54. US Copyright Office Registeryour works with the US Copyright Office • Under US law, copyright is automatically granted when you create the original work or “fix” it to a medium, like tape or hard drive • Use Form SR or Form PA to establish a public record of creation • Official registration provides creators with more legal protections in event of infringement Table of contents
- 55.
- 56. Deliveries to aggregator Data,artwork and music delivered to your aggregator • Give yourself enough time to do this right • Fill in as many descriptive fields as possible to increase searchability and proper attribution • Spellcheck everything! • Use consistent spelling, capitalizations (Music Biz Standards Guide) Your aggregator will deliver to dozens of digital retail stores, streaming services, and discovery platforms. Table of contents
- 57. Deliveries to aggregator Whatdata aggregators need • Artist name • Album title • Song titles • Are any of the songs covers? • Names of songwriters • Label name (even if it’s your name) • Catalog number (if applicable) • ISRC for each track, or have them assigned by aggregator • UPC barcode for album, or purchase one from aggregator • Release date • Genre, secondary genre • Artist location Table of contents
- 58.
- 59. Other sites • Populateyour other platforms with the same data, artwork and music • Give yourself enough time to do this right • Fill in as many descriptive fields as possible to increase searchability and proper attribution • Spellcheck everything! • Use consistent spelling, capitalizations (Music Biz Standards Guide) Bandcamp + your own website + social media Table of contents
- 60. Takeaways Presented at BarcampPhilly November 7, 2015 | Philadelphia, PA Table of contents Ultimately, it is the artists’ responsibility to document creators and contributions, and keep track of IDs Be consistent with spelling, diligent with data entry Metadata is the text and numbers that uniquely describe and identify your music Metadata is increasingly important. It underlies discoverability, proper attribution and payment across an increasing number of platforms