(Credit: Heshan Perera/Unsplash)

Rumors of Facebook‘s upcoming Terms of Service update noting the right to delete users and pages that “create music listening experiences” from the platform have turned out to be untrue.

According to a conversation between DJcity and a Facebook representative, the following is noted:

“People are likely mistaking the updates we’re making to our Facebook Terms of Service. Our music guidelines have been in place since we launched music on our platforms in 2018. They were written to balance our commitment to supporting musical expression on our platforms with also ensuring we uphold our agreements with rights holders, which remains unchanged.”

As the global quarantine enters its sixth month, DJs are navigating the decisions made by broadcasting platforms as they learn how to adapt to live streaming. Ultimately, it appears that by the end of 2020, there will be more answers than questions regarding how DJs can sustainably showcase their talents and earn a living wage in an online environment.

Platforms like Facebook, Instagram, and Twitch are becoming far more artist-friendly and much less DJ-equipped. Conversely, platforms like Mixcloud and YouTube are moving towards sustainability as online broadcast platforms.

Recently, Instagram-borne Verzuz announced partnerships with Apple Music and Diageo, Ciroc Vodka’s parent brand. Also, Twitch announced a two-day live stream partnership with Rolling Loud, a global, multi-city hip-hop festival, on September 12 and 13. Partnering with DJs requires negotiating rights fees and payment structures with BMI and ASCAP, while partnering with brands and festivals is an entirely different concept.

Facebook adds, “Shorter clips of music featuring a visual component are recommended [for use as Facebook live content]. As well, the greater the number of full-length recorded tracks in a video, the more likely it may be limited by the platform.”

Brands and events require platforms to aid in marketing products and ultimately turning profits from paid attendees. There is also a direct return on investment (ROI) for an outlet in working with a third-party. Hosting rights fees and platforms using an event’s popularity to increase their visibility amid numerous apps and sites battling for user bandwidth are vital drivers. Unless a DJ is a household name, the ROI likely isn’t there to make the opportunity worthwhile.

Other “traditional” streaming powers have emerged during the pandemic, too. Mixcloud was an early adapter in allowing DJs to stream mixes by negotiating with rights-holders and copyright organizations. Through their recent Mixcloud Live feature, rights-enabled DJ sets are possible with a Mixcloud Pro subscription.

Youtube averages two billion users per month and averages four times the daily traffic that Twitch does. Thus, Youtube has earned the revenue to be able to develop a content ID system that allows for rights-owners to stake their claim and share ad revenue on the uploaded/streamed mix.

Regardless of Facebook’s options, numerous streaming ideas and options deserve a closer look. First off, on the back of increased engagement from numerous users including the DJ community, Twitch stands to potentially increase its user base by 166% in the next year. For as much as live DJ sets are technically prohibited in their terms of service, there is the possibility, if mixing quickly (under 90 seconds) between tracks, to emerge unscathed due to the platform’s popularity and monetization opportunities, alone.

Instagram’s Badges program deserves consideration, too. Announced in June, the concept allows for Instagram Live viewers to send monetary tips to creators during live streams. Also, Instagram airs ads that play at the start of each user’s active engagement. The revenue from Instagram’s ads are paid at 55% to the creator and 45% to Instagram.

Soon after America’s national quarantine began, D-Nice played an Instagram Live DJ set for 150,000+ simultaneous viewers. About half a year later, Brandy and Monica‘s Verzuz battle was viewed by 700 percent more people. In the case of Brandy and Monica’s event, the combined net worth of the brands and sponsorships involved total $1.4 trillion. The support of live streaming from such major corporate players speaks to the power and potential it has.

Somewhere in between these massive successes, there exists a world of working DJs trying to figure out how to live stream sets for either fun or as a source of income. Thankfully, it appears that an industry is forming around live music streaming. Ideally, that industry’s success quickly trickles to the place where rights holders and platforms can discuss equitable ways to allow for DJs to spin music without fear of punishment.

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