Digital distributor Dubset Media has partnered with Sony Music to allow the use of the label’s catalog in DJ sets and remixes on music subscription services.
In addition to opening up Sony’s catalog to DJs and remixers, the deal creates a new revenue stream for the label.
Using its MixBANK rights management platform and Cross Clearance Network, Dubset identifies the underlying musical recordings used within DJ sets and remixes. Once the tracks are identified, the platform determines the label and publishing rights holders and simultaneously clears the DJ sets or remix across all rights holders.
Although thirty-five thousand labels and publishers have registered with Dubset, Sony is the first major label to get on board.
Dubset Media CEO Stephen White said in a press release:
“Hundreds of millions of music fans are streaming DJ and remix content, and labels, publishers, and performance societies need robust solutions for managing the use of their catalogs within this massive category of under-monetized music.”
Andre Stapleton, senior vp of digital partner development at Sony Music Entertainment stated:
“We have worked closely with Dubset on a deal that not only protects our artists, but also provides us with the tools to harness new revenues for them, while amplifying the popularity of the original master recordings at the same time.”
Bob Barbiere, Dubset Media chief strategy officer and svp of global licensing added:
“Poorly monetized user generated content (UGC) has already cost the music industry billions in lost revenue. DJ sets and remixes, like original music, must be independently registered, tagged, and cleared before entering any subscription music streaming service – which up until now has not been possible. At Dubset we have solved this problem.
Dubset has announced a partnership that will allow Apple Music to stream remixes and DJ mixes that had previously been absent due to copyright issues, Billboard reports.
The website writes:
“Dubset is a digital distributor that delivers content to digital music services. But unlike other digital distributors, Dubset will use a proprietary technology called MixBank to analyze a remix or long-form DJ mix file, identify recordings inside the file, and properly pay both record labels and music publishers.”
The partnership could be a game changer because licensing remixes and mixes is incredibly complex. According to Dubset CEO Stephen White, a typical mix has 25 to 30 songs that require payments to 25 to 30 record labels and anywhere from two to ten publishers for each track. As Billboard points out, that could be more than 600 different rights holders.
Not all remixes and mixes will be allowed on Apple Music, though.
According to Billboard: “Once an uploaded mix is analyzed, a process White says takes about 15 minutes for a 60-minute file, MixBank checks the recordings, as well as its underlying composition, against the controls and restrictions set by rights holders. For example, rights holders can blacklist an artist, album, or track. They can create a rule to limit the length of a song used in a remix or mix. Rights holders can prevent an artist from being associated with certain other artists and they can control which territories will and will not get the content. Then there’s an optional review process at the end so a rights holder can give a final approval for the file before it is distributed.”
If the remix or mix passes the tests, the remixer or DJ is notified and can select the desired distributors (others are coming soon). If the content fails the tests, the creator receives an explanation and a chance to make the necessary changes before submitting it again.
But here’s where it really gets interesting. According to Billboard, even the remixer or DJ will get a share of the earnings.
“In many ways, Dubset is like any other distributor. The service pays Dubset for the content. Dubset then figures out which label and publishers to pay. It retains a percentage of revenue for the service and pays the creator (the remixer or DJ) a share of revenue (White won’t provide the specific amount of each). Major labels and independent labels are paid at the same rates. Big DJs and small DJs also earn the same rates.”
“The goal is to bring this to all 400 distributors worldwide,” White told Billboard. “When you think about unlocking these millions of hours of content being created, it’s significant monetization for the industry.”
DJs and rights holders can sign up here.
Related: DJs Should Stop Playing SoundCloud and YouTube Rips
Jody Gerson at the UMPG’s Santa Monica office. (Anne Cusack/Los Angeles Times)
The Los Angeles Times recently interviewed Jody Gerson, Chairman and CEO and Universal Music Publishing Group. UMPG is the world’s second largest music publisher and represents songwriters like Eminem, Big Sean, and Lady Gaga.
Gerson’s career began in the mid-’80s at Chappell Music, where she spent much of her time in the tape room compiling new music for the company’s higher-ups to hear. “I would be the first one in and the last one out at the office every day,” Gerson told the LA Times. “I loved it, and I was going to do whatever it took.”
After spending six years at Chappell, Gerson landed executive positions at EMI Music Publishing and Sony/ATV Music Publishing, where she signed a then 14-year-old Alicia Keys and Latin sensation Enrique Iglesias. That’s also when Gerson signed the not-yet-famous Lady Gaga, who later recorded her first hit, “Just Dance.” “What my experience with Gaga did was solidify the fact that I was empowered to truly help an artist break,” Gerson said.
In 2014, Gerson left Sony/ATV for Universal Music Publishing Group to serve as chairman and CEO, becoming the first woman to head a major music publisher. Since then, the 54-year-old has signed superstars like Demi Lovato, Nick Jonas, and Ariana Grande.
Related: An Interview With Wendy Goldstein, Republic Records’ Head of Urban A&R
deadmau5 (photo credit: Danny Mahoney)
Joel Zimmerman, aka Deadmau5, is leaving Universal’s Astralwerks for Kobalt, an independent rights management and publishing company. The Canadian DJ/producer revealed his plans during a recent interview with Billboard.
Zimmerman said he’s bringing his recordings, publishing and Mau5trap label to Kobalt, which counts Skrillex, Trent Reznor, Dave Grohl, and Paul McCartney among its clients.
“The label does what’s good for the label. Always,” Zimmerman told Billboard. “It’s instilled in the industry that that’s the only way to do it. Well, not anymore.”
“I am very strict on what products I want to associate myself with, and I felt that some things were just to make a buck,” he said. “Then, we’d only get a little trickle, and I’d be like, ‘Wait, I look this stupid for only that much? Why am I looking stupid in the first place?’”
In addition to more freedom, Kobalt promises near-real-time review of publishing income and claims to collect 20 to 30 percent more revenue than the majors.
“I’m not saying I’m never gonna get f#cked again,” Zimmerman said. “But I do like the freedom that, if I do f#ck up, it’s my fault rather than the fault of someone who bought that responsibility from me.”
Zimmerman’s decision to leave Universal was reinforced by the fact that most of his income comes from touring. However, he still retains ownership of his back catalogue and will inherit full control from his former labels, Ultra and Universal, when their respective licenses expire in 2027 and 2029.
Related: Deadmau5 and Disney Settle Dispute Over Logo
England’s Krept & Konan, the duo behind the DJcity chart-topping single “Freak of the Week,” has signed with Sony/ATV Music Publishing UK.
The dancehall-influenced track was produced by DJ Mustard and features Jeremih on the hook. It’s racked up over a half-million SoundCloud plays since its release two weeks ago.
The track samples the “Playground” riddim, which was made famous by Bennie Man’s 1997 crossover hit, “Who Am I.”
On July 6, Krept and Konan will release their debut album, The Long Way Home, which includes appearances by Ed Sheeran, Wiz Khalifa, Emeli Sande, Rick Ross and Jeremih, according to Sony/ATV.
Watch the video for “Freak of the Week” below and download the song here.
Related: DJ Mustard Talks Opening for Skrillex & Working with Diplo
Over the last couple years, Flume aka Harley Streten has built a massive fan base and established himself as one of the most influential electronic artists from Australia. His distinctive style of indie-influenced electronic music has taken him around the world, including performances at Coachella, Lollapalooza and the Mad Decent Block Party. One of Flume’s most successful productions — a remix of Lorde’s “Tennis Court” — has amassed a staggering 18 million SoundCloud plays in just nine months.
So, how did the long-time bedroom producer breakout and become a worldwide phenomenon? During the 2014 Electronic Music Conference, which took place in early December, Flume and his management team spoke for nearly an hour about the strategy behind his brand and the tactics used to promote his music.
The in-depth discussion featured various components of the team, including his manager, agent, publicist, A&R, publisher, and art director. Thankfully, a video of the entire discussion has been uploaded to YouTube and those who didn’t attend the conference can now soak up the knowledge. Watch below:
Here’s a breakdown of the topics:
1:30 – The turning point in Flume’s career
3:35 – Chad Gilard, A&R (Future Classic)
5:35 – Flume’s creative process
7:35 – Ed Sholl, Label Manager (Future Classic)
10:40 – Jarrod Bird, Publisher (Future Classic/Kobalt Music)
16:20 – Jay Ryves, Art Director (Future Classic)
19:50 – Latane Hughes, North American Agent (The Windish Agency)
28:30 – Festival performances vs headline shows
34:40 – Treating remixes like singles and leveraging social media
41:40 – Q&A session with fans
Related: RL Grime Discusses His Influences, Working with Big Sean
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