International Standard Name Identifier
The International Standard Name Identifier (ISNI), an open standard, is used to identify creators of media content including music, lyrics, poems, video, stills, motion graphics and articles. Contributors include researchers, inventors, writers, artists, visual creators, performers, producers and publishers. It is in use by numerous libraries, publishers, databases, and rights management organizations around the world.
Most importantly it can accurately link the work with the creator of that work. The goal is to ensure that every published work can be unambiguously attributed to its creator whenever and wherever that work is described.
The ISNI creates a single identity - the creator’s name or pseudonym - that is identified as a unique number. This unique number can be linked to many other identifiers across multiple media industries to other forms of identity.
For instance, a singer/songwriter may write both music and poems. They may be identified in many different databases using many different identification methods.
Multiple expressions of a single name:
- Katherine Jane Doe
Kat Jane Doe
Katherine J Doe
By using one ISNI, there is one single linking ISNI record that would provide certainty this is the correct Katherine Jane Doe. The multiple databases could then exchange data about Kat’s ISNI identity without doubt.
Why is this important?
Distribution, purchase and performances of your rightfully owned work can generate revenue. You want to be easily and accurately identified with the usage of your work that generates income.
Read more and register for your own here.
Songwriters to receive a pay raise from streaming services
On Saturday, January 28, 2018, U.S. copyright authorities announced that songwriters will get a pay raise from streaming services. Streaming services account for the largest shares of music industry sales in the U.S., while global streaming sales jumped 60% in 2016.
The Copyright Royalty Board of the U.S. Library of Congress issued a written decision that changed the formulas used to determine how much of their revenue streaming companies must share with songwriters and the music publishing companies they typically hire to collect licensing fees on their behalf. They approved a 43.8% increase in streaming royalties paid to songwriters and their publishers over the next 5 years. Overall, the percentage of the streaming services' revenue paid to songwriters will increase from 10.5% to 15.1%.
Here are the rates for the next 5 years:
Songwriters and Composers Royalty Rates:
- 2018 11.4% of revenue
- 2019 12.3% of revenue
- 2020 13.3% of revenue
- 2021 14.2% of revenue
- 2022 15.1% of revenue
These licensing fees are typically paid to music publishing companies which collect fees on behalf of recording artists in exchange for a commission.
- 2018 22.0% of total content cost
- 2019 23.1% of total content cost
- 2020 24.1% of total content cost
- 2021 25.2% of total content cost
- 2022 26.2% of total content cost
Streaming services must pay a fee, known as a mechanical license every time a user listens to a song. U.S. law requires the Copyright Royalty Board to set the rates for these mechanical licenses, rather than letting publishers negotiate rates with streaming services.
A bill called the Music Modernization Act (MMA) has been introduced to the U.S. Congress which would create a new government agency to issue license to digital services and collect and distribute royalties tot he holder of the digital rights.
Metadata is basically information- meaningful information that is attributed to an object. Think of metadata as descriptors. In the recording and production industry, this would be information associated with a recording, technical information, creative information and the personnel involved.
Metadata can be assigned to your assets, in this case, being music that you created or helped create.
Metadata and your Digital Assets
Now that we understand what metadata is, there is a basic metadata set that we recommend you assign to your music:
- Date of creation
- Song title
- Album title
- ISNI, ISRC
- Record label information (if applicable)
- Sample rate, Bit depth and Data Carrier (hard drive)
If something is lost or forgotten, a rich set of metadata assigned to your assets will help ensure that you can retrieve it quickly. A wide set of tags will assist in that search. Think of "googling" your music for certain words.
The goal is to make your assets discoverable- discoverable by you, collaborators, people you share rights with, the people that manage your rights, the people that want to pay you, the fans that want to hear you.
Remember: If it is not discoverable, it may as well not exist.
Use a Digital Asset Management System, or create one! Every time you create a new song or begin an album project, use the basic set listed above in a Excel spreadsheet. Use the list as columns. Simple. Save on your Google Drive. It only takes a few minutes.
Go retroactive. While time consuming, it can serve you well in the future. At least assign the date, tempo, key and creative contributors and some basic information about those people to unenriched assets.
Metadata can be embedded in the audio file, or a reference number can be embedded in the file to refer to a database containing your metadata. It's not as daunting or as complex as it sounds.
- If rightful ownership of your music is archived (song writer(s), publisher, PRO, etc.) Knowing exactly who created the song and rightful ownership allows managers of these rights the ability to release payments faster.
- Sync and Licensing opportunities - if a music supervisor contacts you and asks you for a song in 4/4. - 120 BPM in e minor, with harp, violin, and sampled 808 drum sounds, will you be able to recall, within minutes, which black Avastor hard drive contains this content? Doing a search against these tags (4/4, e minor, harp, violin, samples) and a list populating your screen with a reference to the data carrier (hard drive) will provide a much faster answer than mounting dozens of drives, opening untold numbers of Pro Tools sessions or a loosely named collection of "master mix" files.
You can get the mix back to the music supervisor faster thereby increasing your odds of landing the opportunity.
The use of ISRC and ISNI can all connect the above mentioned organizations and people with you as an artist or creator.
Check out the VEVA Sound Studio Collect Suite. You can download it for free here and see just how easy it is to collect and track and ultimately profit from deliberate metadata enrichment of your creative content.
What is a LTO?
Linear Tape-Open (LTO) is a magnetic tape data storage technology originally developed in the late 1990s and introduced in 2000 as an open standard solution for backup and archiving of large amounts of data. The system is used by large institutions such as: software companies, banks, hospitals, insurance companies and, in our case, record companies.
LTO technology is currently in its 7th generation. The LTO-7 spec supports tape cartridge storage with a compressed capacity of up to 15TB* which is more than twice the previous generation. The technology is spec'ed out to Gen 12 which will hold 480TB!
LTO specs provide backwards compatibility to read/write with previous generations. Current-generation LTO drives are able to read tapes from two generations prior and are able to write to tapes from the prior generation. This does require that previous generations are cycled up to the current generation.
LTO'S boast WORM- write once, read many capability that ensures that your data is not overwritten. This technology provides users a cost effective means of storing data in a format that cannot be rewritten.
LTO technology features strong encryption capabilities to enhance security and privacy during storage and transport of LTO tape cartridges.
LTO features a 256-symmetric key AES-GCM algorithm, implemented at the drive level, which enables compression before encryption to maximize capacity and performance during backup.
Recent generations of LTO technology (LTO-5) include a partitioning feature which helps to enhance file control and space management via LFTS - Linear Tape File System - a self describing tape format.
File data and file system metadata are stored in separate partitions on the tape. The metadata, which uses a standard XML schema, is readable by any LFTS system and can be modified separately from the data is describes.
Partitioning allows for indexing, which points the drive to where in the tape a file is stored. The second partition holds the actual file. With LFTS, indexing information is first read by the drive then presented in a format that allows the user to "drag and drop", similar to other data carriers.
LTO tape is predicted to provide 15 to 100 years of archival storage. The current generation of LTO should be able to provide 200-364 full file passes.