Santa Monica is famous for many things, but three popular landmarks top the city’s list of must-see spectacles: the pier, the beach, and TrueTone Music. Run by musicians, for musicians, TrueTone is an independently owned and operated guitar shop that attracts local and touring musicians alike. Over three decades in business, TrueTone has established itself as a destination spot for the greater Los Angeles area—and the rest of the world as well. 

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today. In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with TrueTone co-owners Sunir Patel and Paul Flynn to discuss the success story behind their legendary guitar shop. “[TrueTone Music] really is the people,” says Paul. “We can put whatever gear [we want] up on the walls. You can’t just get a room and put gear in it, and people will come in and buy it. It does not work that way.” 

“The vast majority of the [staff] has been there for 10-plus years,” Sunir adds. “That’s a really big thing. The most important part of the vibe and the culture of the store are all the guys working there.”

In today’s conversation, Paul and Sunir discuss TrueTone’s origin story, the timeless quality of guitar-based music, and the major differences between their indie shop and the big-box retailers. Tuning in, you’ll also gain insight into the inner workings of TrueTone, including their commitment to creating a welcoming community that treats regular customers like celebrities and celebrities like regular people. (That said, TrueTone has seen its fair share of musical luminaries, including Prince, Andy Summers, Reverend Billy Gibbons, Tenacious D, Tom Petty, and Steely Dan, among others.

As you’ll discover in today’s episode, both Paul and Sunir harbor a deep love for music and the people who craft it, regardless of their celebrity status. They believe it’s the people, not the gear, who make TrueTone Music the special place it is. “If we keep making customers happy, we can keep doing this,” says Paul on their plans for the future. “It’s as simple as that. We like what we do, we like the customers, we like the gear. It’s generally a very nice work environment!”

In the realm of music recording, small labels are not merely entities; they are hubs of ingenuity and resilience. Running an independent recording label can be both challenging and rewarding. Building a strong brand, nurturing relationships, and staying innovative are the keys to success for smaller music recording labels. California-based boutique record label RidingEasy, which specializes in classic rock, heavy psych, and proto-metal, embodies all the crucial aspects of prosperity within the indie sphere. 

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today.

In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with RidingEasy Records founder Daniel Hall to discuss the label’s formation and subsequent success. “I have been really lucky with how things have flown with [RidingEasy],” he says. “I think the difference with independent labels is we are putting out records we feel great about, even if it does not sell a million copies.”

RidingEasy Records is more than a label; it’s a passion-turned-phenomenon. Their tracks have found homes in commercials, films, TV shows, and online content, making them an indomitable force in the industry.

Daniel himself is more than a seasoned professional in music marketing; he’s a trailblazer in the industry. From artist to promoter, his journey through the music industry is marked by life-changing relationships and a profound understanding of the mechanisms of success. “I think one of the things I learned about in the music business is that what you think you are going to be doing is not always what you are going to be doing,” he says. 

In our conversation, Daniel unpacks the roots of RidingEasy Records and how stoner rock band Salem’s Pot ignited the label’s formation.

He shares the experiences that shaped his belief in the power of music and waxes poetic about strong graphics as the backbone of a marketing campaign: “Pre-internet days, you would go to the record store, and a lot of times you couldn’t hear what something sounded like. You had to look at the [album] cover.” Daniel discusses the album art and labels that ignited his passion before forming RidingEasy Records, his contemporary marketing approach, and how his DJ background helped shape his career.

Grab a backstage pass into the inner workings of an indie record label by tuning into our conversation with Daniel Hall. 

“I am a music lover first,” says musical polymath Danny Holloway. “I don’t care where the tune is from.”

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Born on the West Coast, Danny is a producer and music journalist whose life is guided by his passion for creativity and music. From a young age, he knew he wanted to be part of the music industry, even if his own bands never made it big. “I was most dedicated to having a career in music,” says Danny, who tried on multiple hats before finding the right path. “It didn’t necessarily have to be playing it; I just needed to be a part of it,” he continues. A former employee of Island Records, Danny is also a record collector and DJ with Los Angeles-based internet radio station dublab.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today.

On today’s episode, host and L.A.-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Danny Holloway to discuss the producer’s long and winding road through the world of music. During their conversation, Danny shares stories about industry legends, his personal evolution, and the multiple turning points he’s encountered along the way. 

One such turning point occurred when Danny relocated to the UK for his career. There, he connected with Island Records head Chris Blackwell, who sent him to work with Bob Marley in Jamaica, an experience that allowed Danny to bring reggae to a larger, transatlantic audience.

“When you brought reggae to people for the first time that were unfamiliar with what it was, the beat was backwards to them,” he says. Danny also discusses writing for NME, a music journalism gig that kick-started his career, and why he eventually decided to return to the U.S. with his family.

Later in the episode, Dan and Danny chat about the changes that have upended the world over the last decades, including the fame, materialism, and the difference between today’s stars and the icons of the ‘60s and ‘70s.

Ultimately, Danny’s story exemplifies how passion and tenacity can lead to bigger and better things over time: “Don’t get too locked into one thing!” he says, taking his own advice to heart. Tune into today’s episode of The Conduit for a fascinating conversation on Danny Holloway’s incredible career in music. 

On this episode of ‘The Conduit,’ host Dan Ubick sits down with Paul Broucek to discuss the producer’s role as president of music at Warner Bros. Pictures.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Crafting an engaging, emotive film score is a complex process that demands a harmonious blend of artistic flair, collaborative prowess, and an acute understanding of the film’s narrative. A great score transports listeners to the heart of the story, instilling the audience with awe, fear, elation, and despondence in the space of two hours.

The musicians behind these scores are responsible for compositions that imbue the story with an unforgettable essence, constructing themes that stimulate the imagination and evoke a range of emotions. Today’s guest, Paul Broucek, is an entertainment heavyweight who oversees Warner Bros. Pictures’ score production as their president of music. 

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today.

In today’s episode, host and L.A.-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Paul Broucek to discuss the producer’s fascinating career in film scoring. “I wanted to be the kind of producer who understood the tools and understood how [making music] is done,” says Paul, who, as a talented pianist and composer, has written music for a variety of projects over the years. 

As the president of music at Warner Bros. Pictures, a position he’s held since 2012, Paul supervises all aspects of music production for the studio’s films, working alongside filmmakers and composers to craft scores that leave an indelible mark on audiences: “My favorite space in the world is to be in a recording studio,” he says. Paul is also a frequent speaker and panelist at industry events, generously sharing his insight and expertise with aspiring musicians. 

In our conversation, Paul discusses the path that led him to his career, the various projects he’s completed, and the magic of scoring a soundtrack for a film.

We dive into the art of managing expectations, the process of making music for a movie, and why composing scores is an ego-driven business.

Paul also shares the musical inspirations with the greatest impact on his work and why it pays to be prepared: “[Luck] is preparing yourself for things that you are interested in so you can recognize when an opportunity comes along—then you can act on it.” Tune into today’s episode of the Conduit and discover what it takes to excel in the film scoring industry with invaluable insights from Paul Brocek.

For Michael “Fish” Herring, a veteran guitarist with 25 years of touring experience, playing with industry luminaries like Dru Hill, Christina Aguilera, Stevie Wonder, Justin Timberlake, and Prince is just a fraction of his diverse and illustrious career.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today. In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Michael “Fish” Herring to discuss the musician’s philosophy on creativity, collaboration, and learning. “I try to listen and learn [from] people first,” he says. “That makes it easier to thrive in a situation, whatever the situation is.”

Michael grew up listening to a wide variety of music, including progressive rock, jazz, classical, and musical titans like Grover Washington Jr., who hails from Michael’s hometown of Philadelphia.

While he still tours with Christina Aguilera and other illustrious artists, Michael spends most of his time producing, recording, and developing new talent.

He also composes and arranges music for TV and film from his studio and home in Burbank, California. “Every time I meet a new person, a new musician, somebody creative, I’m [inspired],” he says of his career. “I think everybody has got to keep that mindset and help each other out and inspire each other.”

In today’s episode, Michael reflects on the influence his family and schooling had on him while growing up and shares some hilarious and inspiring anecdotes from his journey through the music industry.

From starting the band Psychedelic Mushroom at just nine years old to catching a joint thrown by Rick James as an adult, Michael has seen it all: “I have a fond memory of [Rick James] lighting a joint in the control room and the joint catching on fire and him tossing it to me while it was on fire,” he muses. “Rick can do whatever he wants!”

Tuning in, you’ll find out about Fish’s “listen and learn” approach (“listen to every note that every player is playing because that affects you”) and how he continues to push himself creatively by allowing recording artists to guide him. “The future of music is always uncertain,” he quips. “It’s constantly changing with technology. It’s constantly changing as an art form. It’s constantly changing as a job. Who knows where the next gig is going to come from, [but there are] always gigs.”

For world-class professional advice from musician, songwriter, guitarist, composer, producer, author, inventor, screenwriter, and all-around music industry veteran Michael “Fish” Herring, tune into today’s episode of The Conduit.

A revolution of sorts is happening in the sheet music industry.  Just like recorded music, anyone with access to a computer can become a publisher, creating and distributing sheet music with relative ease.  Many artists wish they could publish sheet music of their songs, and this article will walk you through the steps to make it happen!

The following comes from Breeze Tunes, a company DMN is partnered with.

Why Sell Sheet Music?

Sheet music is a valuable revenue stream for your song. It may not be big money (single-song sheet music typically sells for around $5.00), but at least we’re talking about dollars rather than the fractions of cents generated by streaming.

In addition to being a valuable merch item, sheet music opens the door to many creative promotional opportunities. Icelandic Jazz/Pop artist Lofey “leaked” her new album in sheet music form, which led to 24,000 fan pre-saves. Legendary rock band Metallica hosted a marching band competition, encouraging groups around the country to arrange and perform their music. Singer-songwriter Cody Fry has used creative score videos of sheet music to rack up millions of views.

Most importantly, sheet music is a powerful way to connect with your fans, giving them the tools to recreate and experience your music on their own terms.

Step One: Notate Your Song

The obvious first step is to write your music down. Depending on the genre, you may also need to arrange it to make it suitable for your target audience. This is most effectively done in notation software like Finale, Sibelius, or Dorico, which are all professional-level applications (comparable to DAWs like ProTools, Logic, or Cubase). Once you are finished, export the music as a PDF file, which you can distribute online or print hard copies.

If you’re not comfortable with music notation (or don’t want to invest the time in learning), you can outsource this step of the process to a professional copyist, engraver, or transcriber who will make your music look top-notch! Think of them as another member of your support staff, like a producer, mixer, or audio engineer.

Step Two: Make a Cover Image

Just as albums typically come with artwork, sheet music needs a cover page to help it stand out. This image will also serve as your product thumbnail in online stores. The easiest way to make one is by using Canva, which has an extensive collection of templates and stock images you can use.

It also makes it easy to resize an image (for use in social media) or export your cover page in formats like PDF, JPEG, or PNG files.

Step Three: Write a Product Description

You’ll also want to write a short description (usually two or three sentences) explaining the basics of the song, who it’s written for, etc. This will help potential customers, but it’s also what search engines will use to display your music in results.

Step Four: Provide an Audio Demo

Nowadays, no one will buy sheet music without hearing it first. Most publishers demo their music using an MP3 recording or a YouTube video. If a live recording or performance video is not available, a quality MIDI mockup is acceptable.

Step Five: Distribution

In addition to your artist website or merch table, you can use several third-party retailers to get your music in front of more people.

The first is ArrangeMe.com, which Hal Leonard owns. Think of it like DistroKid for sheet music. You upload the music, set the price, provide the images and description, and within 24-48 hours, your music is available for sale on sheetmusicplus.com and sheetmusicdirect.com. Composers earn a 50% royalty on all sales and retain their copyrights. In addition, it is a non-exclusive agreement, meaning you can also sell your music on other sites without restriction.

ArrangeMe also has a database of more than four million songs for which it can provide copyright clearance, allowing you to legally sell arrangements or covers of popular songs. However, there are more restrictions for these arrangements, and arrangers only earn a 10% royalty on each copy sold.

Another option is MyScore, a program run by JW Pepper that allows you to sell original music on the JW Pepper website. It does not allow for sales of copyrighted arrangements; however, it offers customers the ability to order printed copies of music delivered through the mail—a big plus for school ensembles that frequently order from Pepper.

Musicnotes.com is another digital publisher that works with many independent musicians (especially on YouTube) to clear copyrights and distribute sheet music of their cover songs. Artists can work with one of their editors or upload music through the Musicnotes Marketplace website.

Step Six: Marketing

Like recorded music, getting your songs online is the easy part. Next comes the hard work of getting your sheet music in front of the right people. In many ways, this is more difficult than promoting your music on streamers because your target audience is smaller—either trained musicians or students of a particular instrument.

For ideas on successfully marketing your sheet music, follow the Selling Sheet Music podcast!

On this episode of ‘The Conduit,’ host Dan Ubick sits down with Ric’key Pageot to discuss the musician’s upbringing in Montreal among a family of musicians.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Location and geography hugely impact a child’s development, from the friends they make to the schools they attend. While it’s not always recognized as such, Montreal is a uniquely vibrant city with exceptionally high rates of integration that differentiate it from cosmopolitan areas like New York or Los Angeles, both diverse cities that contend with significant levels of segregation.

Today, accomplished L.A.-based musician Ric’key Pageot joins us to discuss his unusual upbringing in Montreal among a family of talented musicians. “Montreal is so integrated; you’re surrounded by every culture,” Ric’key says. “Montreal is really underrated for that.”

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today.

In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Ric’key Pageot to discuss the musician’s journey from “classical nerd” to pop-star-supporting touring artist. “Anything outside of classical, I really wouldn’t [listen to],” says Ric’key of his years at McGill University in Montreal. “I don’t think I really listened to anything other than hip-hop, R&B, and stuff like that. It’s only when I grew older [that] I started appreciating other types of music.”

Today, Ric’key is a Steinway Artist, a title granted to only the very best pianists. In the past, he’s played piano and accordion on tour for the likes of Diana Ross, Madonna, and Cher.

During today’s episode, Ric’key shares details about his upbringing in Montreal, how it exposed him to a multitude of ideas and cultures, and why he chose to attend McGill University: “It was a great school. I loved it. And it’s kind of sad today. I don’t even think they have the same program anymore. They lost government funding. And it’s really unfortunate that music is not a priority anymore. The arts are not a priority anymore in schools.” Ric’key also describes what it was like growing up in a family full of talented musicians—and the concerts they held—before reflecting on his life as a performer.

“I’m all about tradition and moving tradition forward,” says Ric’key, describing Parlor Social, the band he formed with his wife, Dessy Di Lauro. “That’s how Parlor Social came about. It was about paying homage to the Harlem Renaissance culture and moving it forward.” Ric’key’s life as a musician has led him down incredible paths; in today’s show, he reflects on his journey, the many lessons learned, and the amazing people he’s met along the way.  

Photo Credit: Crewest Studio

“Mario C. likes to keep it clean,” raps Mike D. on the Beastie Boys’ 1998 single “Intergalactic.” The Beasties have a delightful habit of name-checking their friend and go-to producer, Mario Caltado Jr., who’s mentioned on three of their studio albums.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Born in Brazil and raised in L.A., Mario Caltado Jr., better known as Mario C., grew up listening to AM radio during music’s golden age in the ’60s and ’70s, which led him to start his own band: “It was a very exciting moment to be able to make our own music and impress our friends and family with the music that we created,” he says. The rush Mario experienced while playing live cemented his passion for performance, and he continued experimenting with different sounds and instruments. As Mario got older, he became interested in the technical side of music. And the rest, as they say, is history.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music industry. In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Mario Caldato to discuss the producer’s work with industry titans like Beck, Bjork, Cibo Matto, John Lee Hooker, Los Lobos, and Yoko Ono.

Mario is well known for his work with the Beasties, a collaboration that catapulted his career into the stratosphere. The producer formed a tight bond with the Beasties, becoming close friends while recording Paul’s Boutique, Check Your Head, Ill Communication, and Hello Nasty. Mario is also known for his early work on Tone Loc and Young MC hit singles and albums. “[Recording] was an experimental learning process that we slowly figured out and improved,” says Mario, who owns and operates L.A.-based production facility MCJ Studios.

In today’s conversation, Dan and Mario talk about the producer’s incredible collection of tapes, how he set up a recording studio with very little capital, and the power of hip-hop to bring people and music genres together. He also shares his influences in engineering, what it’s like working with Money Mark (“he is still the same witty wise-guy”), and how he designed a sound studio for DJ Matt Dike of Delicious Vinyl. “It was a really beautiful beginning […] at the studio, which eventually became Delicious Vinyl,” he says. Mario also discusses his current roster of creative projects, so pop on your headphones to hear the details from a true music legend.

From an early age, Bernie Grundman knew he wanted to dedicate his life to sound. “I knew where I needed to be when I was a little kid,” says the world-renowned mastering engineer. “I already knew the things that attracted me, and I was wide open to it. I knew where my passions were.”

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music industry. In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Bernie Grundman to discuss the legendary engineer’s Hollywood studio, Bernie Grundman Mastering, and its long-term impact on the music industry’s soundscape. “Music is an expression, emotionally, of the human experience,” says Bernie. “We all are the same. We all have the same emotions.”

A jazz fanatic who followed his passion for music through the Air Force and on to Hollywood, Bernie is the man behind a myriad of landmark recordings, including Carole King’s Tapestry, Steely Dan’s Aja, Michael Jackson’s Thriller, Prince’s Purple Rain, Dr. Dre’s The Chronic, and Snoop Dogg’s Doggystyle. Since opening his Hollywood recording studio in 1983, Bernie has mastered thousands upon thousands of records, winning numerous awards along the way. In 1997, he opened a studio in Tokyo, Japan, with engineer Yasuji Maeda.

Bernie began his career with Roy DuNann and Lester Koenig at Contemporary Records, where he mastered gems by jazz greats like Art Pepper and Sonny Rollins. Before long, the engineer moved on to Herb Moss and Jerry Alpert’s famed A&M Records in 1968, where he worked for the next 15 years before launching his own studio. As you’ll discover in today’s episode, Bernie’s easy-going demeanor, his never-ending quest to better himself, and his attention to detail are unrivaled—scrolling through his discography could take up the better part of your day.

In today’s podcast episode, Bernie talks about his decision to become a recording engineer and the steps he took to pursue that passion. He also emphasizes the importance of demonstrating enthusiasm, responding emotionally to music without prejudice, and making yourself unconditionally available to the artists. Ultimately, Bernie believes that if you do what you’re passionate about, you’ll never run out of steam. “I’m 81 years old, and I’m still enthusiastic and excited about this business,” he says. “The thing is, if you’re working in your passion area, you’re never going to run out of energy.”

Photo Credit: Crewest Studio

Adrian Quesada is music royalty in Austin, Texas. The songwriter is a former member of Grammy Award-winning Latin-funk orchestra Grupo Fantasma, a founding member of Latin-funk band Brownout, and one-half of psychedelic-soul phenomenon Black Pumas.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

A producer and multi-instrumentalist, Adrian is renowned for his unique blend of soul, psychedelic rock, and traditional Latin music the world over. But his was no overnight success. Adrian’s been grinding for the better part of two decades now, consistently working to refine his sound and build genuine connections in the industry.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today.

In today’s episode, host and L.A.-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Adrian Quesada to discuss the musician’s slow and steady climb to the top of the music mountain. “Every time I spoke to somebody, it would open a new door,” says Adrian, reflecting on his early experiences in the music industry.

Born in South Texas and raised on a steady diet of hip hop, soul, and Mexican culture, Adrian has collaborated with everyone from Prince and Los Lobos to David Garza and Wu-Tang Clan’s GZA.

“[Prince] believed in us,” says Adrian, referring to his Latin-funk orchestra Grupo Fantasma. “That gave me a lot of confidence as a guitar player; that gave everybody a ton of confidence as a band. That was a big turning point for all of our musical developments and careers.

“I learn something from everybody I work with,” he continues. “I feel like [collaboration] is really important, particularly for somebody like me, who works alone a lot.”

Today, Adrian owns and operates Electric Deluxe, a recording studio and creative space “where analog meets digital.” Self-produced, recorded, and performed, the musician’s latest album, Boleros Psicodélicos, is a sprawling tribute to the golden era of Latin American psychedelia. The record is a funky testament to the dedication and craftsmanship Adrian poured into his work from the very beginning.

Above everything, Adrian loves what he does. Passionate and generous, the seasoned pro reflects on his journey as a musician, offers wisdom on the joys and pitfalls of songwriting, and recommends love and appreciation as the ultimate ice-breakers. Tune into this month’s episode of The Conduit for a fascinating conversation about collaboration, craftsmanship, and appreciation.

Photo Credit: Crewest Studio

Like Sly and the Family Stone, The Clash, and Public Enemy before them, Los Angeles rockers Ozomatli believe change is possible through the power of music.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Formed in 1995, the Grammy-winning group mixes the eclectic sounds of Chicano SoCal—salsa, funk, jazz, reggae, and hip-hop—with socially charged lyrics that preach freedom and denounce injustice. Over the last 20 years, Ozomatli’s energetic live shows and political activism have earned them critical acclaim and a devoted fan base.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today.

In today’s episode, host and L.A.-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Wil-Dog Abers and Raul Pacheco of Ozomatli to discuss the group’s eclectic musical influences and their commitment to social and political activism.

“Every movement has artists and music attached to it,” Will-Dog tells Dan early in the episode. “James Brown didn’t say it’s a universal language for nothing.”

Set to infectious rhythms and catchy melodies, Ozomatli’s music reflects the melting pot of cultures that is Los Angeles.

While they’re known for their distinctly SoCal sound, the group is popular around the world thanks to their extensive touring schedule.

Whether supporting Carlos Santana on his Supernatural tour, working with reggae duo Sly and Robbie, or creating music for children, Ozomatli strives for growth both as a group and as individuals.

“As a group, we’re [always] working hard at being better singers,” says Raul. “I’m taking jazz piano, and it’s been opening me up more [to understanding how] different notes create different feelings, which I never understood before,” chimes in Will-Dog. The two also talk about their scores for Happy Feet 2 and Elmo’s Musical Monsterpiece, a video game that teaches children about instruments, music, and sound.

“[Making music for kids’ films] gave us more freedom to be characters, to play different roles, to not worry about what Ozomatli fans think about it,” says Raul. “That process was actually really helpful for us as writers and how we make music.”

In today’s conversation, Raul and Will-Dog share key lessons from the last two decades of their career. The two chat about leveraging their label’s marketing strategy, treating their manager like a business partner, and their new LP, Marching On.

Order the album here, then tune into this month’s episode of The Conduit for a fascinating conversation with the purveyors of SoCal sound, Ozomatli.

Photo Credit: Crewest Studio

Breaking into the music business and building a sustainable career is a tall order. It requires hard work, a little luck, and a single-minded commitment to the music, traits that today’s guest has in spades. Best known for his work reissuing historical albums, Andrew Sandoval is a Grammy-nominated engineer, author, DJ, and songwriter whose love of ‘60s rock shines throughout his storied career.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today.

In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Andrew Sandoval to discuss how the producer leveraged his deep love of music into an enduring career. His journey began in 1986 as editor and publisher of the fanzine New Breed, a project that blossomed into a career compiling and reissuing albums for labels like Rhino and Polygram.

“I wanted to communicate with people about music, talk about music, and learn about it, and the only way I could do that was [through New Breed],” says Andrew. “I didn’t have the best writing abilities, but I learned by doing, and I can say the same of my entire musical career.”

Enamored with ‘60s rock, Andrew has reissued classic albums by everyone from the Bee Gees to Big Star. A Monkees superfan, he also manages the group, oversees their reissues, produces their tours, and helps with their set list on the road.

In 2005 he authored The Monkees: The Day-by-Day Story, a deep dive into the band’s history that has since been fully updated and expanded. “If you want to sell a book, it has got to be more than just a one-sheet pitch page,” Andrew says of the publishing process. “If people are interested at all, they want to see a sample chapter from you, even if the book isn’t done.”

In this episode, Andrew highlights the importance of self-motivation, experiential learning, and varied skill sets in his success. His story illustrates that passion is paramount, but doing your homework is the bedrock of long-term, sustainable growth.

“The best way to get started is how I got started with my fanzine,” Andrew says. “To make something yourself, discover something yourself.”

For more classic ‘60s tunes, catch Come to the Sunshine, a weekly podcast where Andrew “ushers you into his record room for a two-hour assortment of scintillating 1960s sounds,” Make sure to catch today’s episode of The Conduit for an especially “scintillating” conversation with Andrew Sandoval.

In the ‘90s, rock was rock, hip-hop was hip-hop, and never the twain did meet. Then, at the turn of the century, a 73-minute, genre-bending bomb exploded onto the music scene, shattering notions about the limits of creativity and collaboration. Uneasy Listening, Vol. I, a joint record from like-minded DJs P and Z-Trip, broke genre conventions by mixing rock ‘n’ roll mainstays like Rush and Pat Benatar with dance and hip-hop cuts from Madonna, Redman, and The Pharcyde.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music industry. In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Zach Sciacca (better known as DJ Z-Trip) to discuss the musician’s pioneering work as a key player in the mash-ups movement.

“It wasn’t like I set out to become a DJ,” says Z-Trip, whose Uneasy Listening arrived on the scene in 2001, just as samples, remixes, and mashups were gaining credibility as a valid form of self-expression. “It was very much about me having this music and wanting to share it,” he continues. “Once I realized that I could put it together and I could expose people to the things that I liked, the DJ thing came into play.”

Widely known as both the godfather of mashups and “America’s Best DJ,” an award he received in 2009 from the DJ Times, Z-Trip is also renowned for his technical abilities and production skills. Over the years, he’s collaborated with innovative artists like Nas, Beck, Public Enemy, and DJ Shadow, remixing songs from artists as varied as Bob Marley and the Butthole Surfers. In his interview, Z-Trip shares the brightest pearls of wisdom he’s pocketed along the way: “One thing I learned through the arc of my whole career is take chances,” he says. “Be risky, try to push boundaries. Don’t always play it safe. There’s a time to play it safe, there’s a time to lock in.”

Z-Trip also touches on his favorite genre-bending tracks (see Afrika Bambaataa’s “Planet Rock”), why creative consistency trumps big milestones, and how to find like-minded artists traveling a similar career path. His advice to aspiring DJs? “Every gig, go into it like it’s your first [and last],” he says, adding, “put your heart and fucking soul into it because you never know who’s watching.”

Photo Credit: Crewest Studio

Founding an indie record label is no easy feat, but making that same label thrive over two decades is truly awe-inspiring. Stones Throw Records ringleader Chris Manak (better known as Peanut Butter Wolf) balances the stress of running a tiny but influential label with a healthy dose of enthusiasm: “When I sign new artists, I feel like I’m living through them,” he says. “When I see stuff that excites them, it excites me!” From record-collecting fifth grader to internationally acclaimed DJ, Wolf maintains a deep love of music that guides him through the valleys and peaks of life.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today. In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Peanut Butter Wolf to discuss the DJ’s struggles and successes over the last 20 years at the helm of Stones Throw. Wolf shares his thoughts on making mixtapes, finding positive mentors with eclectic musical tastes, and working with the biggest names in hip-hop, from Madlib and MF Doom to J Dilla and Anderson Paak. He also touches on the ins and outs of running Stones Throw, why streaming services might be good for indie record labels, and which records in his now-massive (and famous) collection came first.

Wolf began collecting records in the late ‘70s, right as hip-hop emerged as an exciting new genre from the Bronx. As a precocious high schooler and “bedroom DJ,” Wolf saved his lunch money for the latest singles from indie labels like Sugarhill and Sunnyview. In 1990, he met 16-year-old Charles Hicks, who would become Wolf’s ride-or-die creative partner as MC and rapper Charizma. Wolf discusses the duo’s origin story, reflecting on their close friendship and creative output over a three-year period in the early ‘90s. He also touches on Charizma’s untimely passing at age 20, the subsequent grief that swallowed his creativity, and what eventually brought him peace: “Making beats and making tracks was what really got me out of [mourning Charizma’s death],” Wolf says. “It was my therapy more than anything.”

If there’s one lesson listeners can learn from Wolf and his 20-plus years of experience in the music industry, it’s how to stay excited about art in the face of adversity. “I’m still really proud and thankful for all of the great music I am able to surround myself with,” he says. Tune in to this month’s episode of The Conduit for a fascinating conversation about stamina and passion with the legendary Peanut Butter Wolf.

Photo Credit: Mike Bugaoan

West Coast producer DJ Nu-Mark has a surprising confession: “I bought a drum machine before I bought turntables,” admits the legendary DJ when asked about his start in the music industry. A longstanding member of experimental hip-hop group Jurassic 5, Nu-Mark laid the foundations for success early in life with school band, drum lessons, and an eclectic collection of rock ‘n’ roll, hip-hop, and Persian records.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today. In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with DJ Nu-Mark to discuss the producer’s personal blueprint for success in the music industry. Nu-Mark shares his thoughts on developing a rock-solid work ethic, how to successfully collaborate with other musicians, and why he chose to put all his eggs in the music basket. Above all, Nu-Mark attributes his success to a curious mind and an open heart: “A sense of wonderment is what keeps me alive in this business,” he tells Dan early in the interview.

In the ‘80s, Nu-Mark began spinning records at LA house parties, a door-opening experience that helped the young DJ segway into the next phase of his career: working with Jurassic 5. Formed in 1994, the group released their first record, Jurassic 5 EP, in 1997, followed by a revised, full-length version of the album in 1998. Widely acclaimed, their debut cemented the group’s position as power players in alternative ‘90s hip-hop. Around the same time, Nu-Mark crossed paths with a little-known producer by the name of Kanye West who handled much of the production for Chicago rapper Grav’s Down To Earth album. Working through Correct Records, Nu-Mark ignited his career by releasing the record.

In today’s episode, Nu-Mark touches on some practical tips for musicians, doling out advice on audience engagement and creative relevance after many years in the limelight. Listeners will also hear about Nu-Mark’s popular sample packs, his viral video series, and his recent foray into film and television scoring. While there are still plenty of twists and turns ahead, Nu-Mark maintains balance by cultivating a sense of fun, excitement, and adventure in everything he does. Tune in to this month’s episode of The Conduit for an engaging conversation with DJ Nu-Mark on the perks of curiosity, compassion, and perseverance.

Photo Credit: Crewest Studio

For many musicians, finding the right balance between creative evolution and acclaim is a crucial, yet difficult task. Fans expect one sound, while record producers want another. In the middle, musicians walk a tightrope between experimentation and outside expectations. Today’s guests, Joe Karnes and Jeremy Ruzumna of soul-pop masterminds Fitz and the Tantrums, are no strangers to this highwire act. The chart-topping group has managed to produce a roster of incredibly diverse records while maintaining, even growing, their dedicated fanbase.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music industry. On today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Joe Karnes (bass, guitar) and Jeremy Ruzumna (keyboards) of Fitz and the Tantrums to discuss the duo’s journey through the music industry, both before and after joining the Tantrums.

While the two are best known for their work in Fitz and the Tantrums, both Joe and Jeremy are accomplished musicians with long histories in the industry. Joe found success playing bass in the glam rock band Imperial Drag, who opened for Alanis Morissette on her 1996 Jagged Little Pill tour. Jeremy picked up a Grammy nomination for his songwriting work with the legendary Macy Gray and has played live with artists like Nikka Costa, Bootsy Collins, Big Daddy Cane, Carlos Santana, and even our host, Connie Price.

In today’s episode of The Conduit, Joe and Jeremy discuss their separate paths through the music industry, and what their lives were like before joining Fitz and the Tantrums. The two chat about the challenges that come with finding a unique style, and why that’s such a benefit in an oversaturated industry. “It’s more important to have your own style than it is to be able to play every style,” says Jeremy. He goes on to explain that fans often have certain expectations for a band or artist, but those same fans “don’t realize that as musicians, you do want to change.” If musicians stick to their guns, Jeremy says, they’ll find their niche.

Our conversation also touches on the importance of work ethic and professionalism, what to look out for when signing record deals or advances, and the value of being kind toward other musicians. Not only are Joe and Jeremy gifted musicians, but the two are incredibly compassionate people who work to support the artists surrounding them. Tune in to this month’s episode of The Conduit for a fascinating conversation about creativity, compromise, and compassion.

Photo Credit: Crewest Studio

Growing up in a creative family has its advantages. Just ask today’s guests, Jack “Wildchild” Brown and his son, actor Miles Brown, who you may recognize from his breakout role on ABC’s hit show Black-ish.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music industry. On today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Jack and Miles Brown to discuss the duo’s separate endeavors in the entertainment industry.

A founding member of cult-favorite hip-hop group Lootpack, Jack recently released OMOWALE, his first solo album since 2014. The seasoned rapper joins his son Miles—stage name Baby Boogaloo—to discuss the young actor’s burgeoning career in the arts and how early exposure to music informed his creative drive. “The funk, that was the first genre of music that I actually started liking, because I danced to it—that is what made me like it,” says Miles, whose claim to fame can be traced back to childhood appearances on The Ellen DeGeneres Show and America’s Got Talent, where he performed as part of dance duo Future Funk. “There were times when I wouldn’t play funk or whatever,” Jack remembers. “And literally [Miles] would say, ‘Can we hear some funk?’”

On this episode of The Conduit, Jack and Miles guide listeners through the exciting trajectory of Miles’ career, from dancing to acting to rapping. Miles chats about his role as sensitive, introverted Jack Johnson on Black-ish, now in its eighth and final season, and reminisces about his years as a child actor. “I was never like all these acting kids who take everything so seriously,” he says. “If I came out of the audition room, I just stopped focusing on the audition. I was just on to the next fun thing of the day.”

The father and son duo also share their respective projects in music and recording, including details about future releases. Miles discusses his musical inspirations, the very best moments from his young career, and why he continues to broaden his range of skills and interests. Toward the end of the episode, Dan, Miles, and Jack conduct a very important conversation about the greatest rappers of all time that you won’t want to miss. Tune in to this month’s episode of The Conduit for a fascinating conversation about the power of funk, family, and creative excellence.

Photo Credit: Crewest Studio

Some artists are chameleons, constantly evolving to meet the demands of a changing creative landscape. Today’s guest, Sy Smith, meets that definition, and then some. Sometimes called “the hardest working woman in underground soul” by her peers, Sy is a renowned actor, songwriter, and session singer who helped cultivate Los Angeles’ progressive nu-soul scene over a decade ago.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music industry. In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Sy to discuss her creative journey as a vocalist and performer. “Singing is such an intimate thing,” she tells Dan early in the interview, which delves into the vocalist’s precocious start in the music industry and traces her ascent to the “Queen of Underground Soul.”

Born in New York City and raised in Washington D.C., Sy understood the value of creativity thanks to her parents, who exposed the young girl to reading, writing, museums, and theater at an early age. “Traveling was always a part of my life,” adds Sy, who learned about regional hip-hop by crisscrossing the country on her creative journey. Eventually landing in LA, where she now lives and works, Sy got her start as a session vocalist, providing backup to legendary artists like Whitney Housten, Chaka Khan, Usher, and Sheila E along the way. Over the decades she’s released five critically acclaimed albums, including her most recent, 2018’s Sometimes A Rose Will Grow In Concrete and her acclaimed debut, Psykosoul. Sy is the recipient of two NAACP Theater Award nominations, and has numerous television acting credits. You may recognize her from the hit FOX show Ally McBeal, where she had a long-term recurring role backing Vonda Shepard. Her voice can also be heard as the character Aisha on Saints Row, an action-adventure video game that features original music and production from the artist.

Sy also shares her thoughts on singing and making music for a living, what it felt like to be a Black artist on a predominantly white record label, and why she ultimately decided to strike out on her own. She offers some practical advice to emerging singers and musicians that covers auditions, recording, publishing, and performing rights. “Publishing and performing rights are constantly in flux,” she says, urging working artists to keep pace with the rapid changes in the music industry.

Inspired by her surroundings wherever she goes, Sy appreciates how being raised in a creative environment fueled her imagination for a lifetime. Her curious and flexible nature allowed the nu-soul artist to forge an eclectic career path she’s deeply passionate about. Tune into today’s episode with Sy Smith for an inspiring tale of fortitude, persistence, and gratitude.

On the inaugural episode of ‘The Conduit,’ host Dan Ubick sits down with Bootie Brown to discuss the rapper’s winding journey through an often cutthroat industry.

The following comes from Crewest Studio, a company DMN is proud to be partnering with.

“Whether it’s good or bad, it’s always a learning experience,” says West Coast rapper Bootie Brown, who catapulted to fame early in his career as a founding member of seminal hip-hop group The Pharcyde. Whether touring the world with his crew in The Pharcyde or perfecting his skills as a producer, Bootie maintains a remarkably grounded attitude for someone who made it big early in life. His solution for surviving an often cutthroat music industry ultimately centers on cultivating a positive mindset and developing supportive relationships to sustain creativity.

Welcome to the inaugural episode of The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today. In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Bootie to discuss the rapper’s long and winding journey through the music industry. Bootie shares his thoughts on making music for a living, finding constructive mentors and role models to guide the way, and what he learned about breaking the rules. He also touches on practical tips for musicians, covering topics like ownership, publishing, copyright, and signing a record deal. “The money that you make on records is not necessarily as big as the fame and notoriety,” he cautions about halfway through the interview.

Before finding his way into music, Bootie studied under the tutelage of renowned choreographer Toni Basil, who worked on American Graffiti. Soon after he joined The Pharcyde, along with founding members Imani (Emandu Wilcox), Slimkid3 (Trevant Hardson), and Fatlip (Derrick Stewart), a career path he never expected. Yet once the rhyming bug bit, there was no going back for Bootie. He reflects on The Pharcyde’s work with producer J Dilla, who was unknown at the time, but garnered praise from A Tribe Called Quest’s Q-Tip for his groundbreaking beats: “Watching J Dilla work and just being in the studio, I realized that breaking that traditional ‘rulebook’ of what you’re supposed to do and how you’re supposed to do your song, it’s what is going to make that moment count.”

Bootie also discusses his ongoing and fruitful collaboration with Damon Albarn and Gorillaz. A frequent touring member of the group, Bootie is also featured on “Dirty Harry,” a highlight from Gorillaz debut album, Demon Days. Look out for Bootie’s latest collaboration with Tame Impala and Gorillaz, “New Gold,” which debuted in summer 2022.

Though Bootie rose to fame early in his career, he cautions listeners not to feel discouraged if it takes them longer to find success. “You not getting everything that you want so fast at a young age makes you decipher what’s right and what’s wrong,” he says. As he’s grown older, Bootie’s openness and generosity allows him to find inspiration in a variety of sources. His desire to express the beauty of the human spirit gives him reason to create, collaborate, and contribute for many years to come. Tune into today’s episode for an uplifting conversation with the one and only Bootie Brown.

The late Michael K. Williams hosts Vice’s ‘Black Market,’ which delved into seedy world of ‘underground stream farms’ in season 2.

Can you really trust the play counts on Spotify, Apple Music, or YouTube? To find out, we interviewed the CEO of a company with a sophisticated method for validating play counts on major streaming platforms. The answer to our question was surprising.

The Digital Music News Podcast is available on iTunes, Spotify, Stitcher, and other podcast platforms.  Or, simply listen to the embed below.

After a string of ‘fake stream’ scandals involving mega-stars like French Montana and G-Eazy, a serious question percolated within the music industry: how real are Spotify’s stream counts? After those scandals, Vice went underground and found a shadowy network of ‘underground stream farms’ that fabricate play counts, raising serious questions about Spotify’s numbers.

The late Michael K. Williams, who led Vice’s investigatory plunge, declared that the “entire industry has been compromised,” and that “music artists are faking their way to the top of the charts.”

But how corrupted are streaming numbers at Spotify — or Apple Music, Amazon Music, and YouTube for that matter?

In this edition of The Digital Music News Podcast, we posed that question to Legitary, a company that has spent years developing a sophisticated methodology for verifying music stream counts. By cross-comparing streaming activity between different platforms and monitoring billions of streams overall, Legitary can detect anything abnormal — including fake streams.

But instead of a picture of seedy fake streams and rigged chart positions, Legitary’s Nermina Mumic offered a completely different takeaway.

Legitary, an Austrian tech company that spun out of university research, has a growing clientele of major content owners.  The statistical validation offered by Legitary allows companies to investigate play totals that display unusual anomalies, based on statistical analyses across all DSPs.

Sometimes, those anomalies can be quickly explained. Other times, they reveal serious issues involving missing metadata, reporting errors, or even outright fraud and fake streams.

But after scanning more than 250 billion streams, Nermina’s assessment of the stream-count landscape was different than Vice’s seedy report. It turns out that streaming fraud is only part of a far more complex story.

Here’s our interview.

The custom-built UFC Ultimate Sound streaming music platform, crafted by Tuned Global and ACX Music

Turns out there’s an interesting niche for custom-created streaming music platforms — one that giants like Spotify can’t easily service. Tuned Global and ACX Music are two companies building this newfound market — we interview the CEOs of both companies in our latest podcast episode.

Once upon a time, it seemed unthinkable that 100 million people would pay for a monthly music streaming subscription. Now, Spotify alone boasts 165 million premium customers, while Apple reports more than 660 million subscribers across its broader suite of subscription services. Even YouTube Music has corralled 50 million premium subscribers, a once-unthinkable number — even for the music industry’s biggest optimists.

That’s good news for the music industry, especially for those that traversed the valley from CDs to downloads to streaming. But with all that heft, today’s streaming music elephants are less nimble when it comes to custom-crafted platform iterations. Smaller, customized iterations make less sense for mega-platforms like Apple Music, but major brands, fitness companies, and other partners are now demanding platforms customized for their purposes. That, in turn, is opening a brand-new opportunity for smaller platform builders.

Case in point: the UFC. Last year, Digital Music News first reported on the UFC’s groundbreaking streaming platform, UFC Ultimate Sound, which was created by ACX Music and Tuned Global. The niche platform revolved around its prized fighters and ravenous fans, with music an integral part of the app-based experience. One thing UFC Ultimate Sound definitely didn’t revolve around was a major streaming platform like YouTube.

Instead, the iteration was homegrown and standalone. For $5.99 per month (after a 30-day free trial)*, UFC Ultimate Sound subscribers can enjoy playlists curated by “music professionals” and fighters themselves, with the overarching goal of bringing fans and athletes together. Users have the option of filtering and following mixes from their favorite competitors alongside similarly-obsessed fans.

“It’s all about bridging a gap between fans and their favorite sport,” said ACX Music CEO Svein Arne Sørgård. “With UFC Ultimate Sound, we can finally connect fans and fighters on a new level. Music brings people together, and we’ve given them a place to meet.”

That type of customized streaming partnership is nothing new for Tuned Global, a company DMN has partnered with to help expand the niche-focused streaming space. Whether the deals involve a global brand or fitness company, a dedicated streaming service aims to connect with a target audience. That means not trying to connect with everyone, which is why platforms like Spotify or YouTube make little sense for tailored applications.

In our latest podcast, we chatted with the heads of both Tuned Global (managing director and cofounder Con Raso) and ACX Music (the aforementioned Sørgård).

Both gave us serious insights into where this space is headed, and why we’re likely to see more niche apps like UFC Ultimate Sound in the coming months and years. And, how remarkably fast these platforms can be created — once the licensing is cleared, that is.

*Correction: in our earlier publication, we reported that UFC Ultimate Sound was available for $9.99 a month after a two-week trial. The updated price is $5.99 a month after a 30-day trial.

Rapper Lucidious being interviewed on the Digital Music News Podcast, December, 2019 (photo: DMN CC0)

Lucidious is an independent rapper with more than 100 million Spotify streams and a steady income. He’s also a guy helping his fans deal with serious issues of depression and suicide.

What?  You’re not subscribed to the Digital Music News Podcast?  We’re available on Apple Podcasts, Spotify, Google Play, Stitcher, and most other podcast platforms.  Or, simply listen to the embed below.

Lucidious is an artist who said ‘fuck it’ — with some proper planning.

He ditched his ‘Plan B’ day job, packed his belongings into a U-Haul, drove to Los Angeles, and eventually reached a point where he could live off of his music. But he warns artists not to quit cold-turkey — especially since developing a career takes money. Instead, Lucidious waited — and worked —until his musical career was generating enough cash, then he quit. “I was at the point financially with music where there was literally no excuse for me to have a job,” he said.

But he never planned to ‘fall back’ on his Plan B. “If I have to, I’ll have two jobs. But I’ll never stop making music — because it’s not a choice, and that, in my opinion, is what a real artist is.”

“This is my journal, this is my therapy.  I have to do this.  Because if I don’t, I wouldn’t be alive right now.”

It’s a subtle difference in life-planning. In one scenario, Plan B is a fallback if things don’t work out. In Lucidious’ world, Plan B is only there to make Plan A into a reality. And giving up on Plan A isn’t a viable option — ever.

Part of Lucidious’ success comes from the deep connection he’s developed with his fans.

His verses are emotionally raw, stripped of any pretense, and totally heartrending, with personal struggles a pervasive topic throughout.  This isn’t typical rap bravado, it’s a form of therapy, and his fanbase has responded accordingly.

They also reach out to him for help, recognizing a kindred soul.  Sometimes, that somebody is on the brink of suicide.

Lucidious told us that he responds to as many messages as humanly possible. “If I open my phone right now, and I scroll for less than a minute, or maybe even thirty seconds, I can open one of four messages, that will say you saved my life, or you changed my life, like, significantly, not just ‘you boosted my mood today.”

“It’s almost always related to ‘I had a divorce after 10 years, lost my kids, like, thank you for getting me back on track,’ or, ‘I’m extremely anxious and I’ve lost a lot of friendships, you showed me that I can actually get help and work through this, thank you.'”

I asked him how many fans have contacted him on the brink of suicide.  He said it’s impossible to say, but it’s a constant in his daily interaction with his fans.  “The actual saved lives, I mean suicidal, darkness, I can open my phone at any given time, to a message of somebody, a new message of somebody sending me that,” Lucidious said.

That includes people right on the ledge.  “Those are really hard for me to take in.  I’m like, ‘oh man, I’d better say the perfect words right now’.”

But getting someone on the line means there’s a considerable chance of saving a life. “The real people that commit suicide do not reach out,” Lucidious said. “Or, even threaten it. They’re usually the people that hide it so well, you think they’re happy.”

Sadly, Lucidious is a sorely-needed artist in modern times.

Lucidious wished more artists — especially superstar artists — would more meaningfully connect with fans and try to positively influence them.

“I do wish there was more of a spotlight on mental health,” Lucidious continued.  “I’m not doing that for my career or to grow my music.  I’m doing it because I care — I know what it feels like to feel that way and it’s a soul calling, beyond music.  I love music, but I love this whole personal development, helping people shift their perspectives.  I’ve definitely dedicated part of my journey to that process.”

Here’s our podcast interview with Lucidious.

Check it out on Apple Podcasts, Spotify, Google Play, Stitcher, or below.

Reggie Gooden of 818 Talent in Digital Music News’ podcast studio in Santa Monica.

What does it really take to get to the top of the Billboard charts?

What?  You’re not subscribed to the Digital Music News Podcast?  We’re available on iTunes, Spotify, Google Play, Stitcher, and most other podcast platforms.  Or, simply listen to the embed below.

The answer, according to Reggie Gooden, a partner at 818 Talent, depends on when you’re asking.  Gooden, named a top business manager for artists and entertainment talent by the Hollywood Reporter, told us that the rules for ranking on the Billboard 200 had already changed since we arranged this podcast interview a few weeks ago.

“The thing that musicians and people in the music business have to contend with, is that the goal posts are constantly moving,” Gooden said.  “You have all these numbers and rules that are stipulating exactly what is and isn’t an album… and then all of a sudden it all changes.”

We asked Gooden about DJ Khaled’s high-profile meltdown last year when Billboard refused to name Father of Asahd the top album on the Billboard 200 (the award when to Tyler, the Creator).

The reason is that Khaled was accused of jacking up his album ‘sales’ through a novel sponsorship tie-in, which rubbed the Billboard chart authorities the wrong way.

Khaled threatened to sue — over a chart position — though Gooden told us that may have made sense from a business perspective.

But why was there any confusion in the first place? Amazingly, Gooden said that Billboard changed the rules right after the Khaled imbroglio. That was just a few months ago, and Billboard has already changed the rules numerous times since then.

And with every rule change, there’s a brand-new opportunity to exploit a loophole.

Gooden took us down the dark-and-dirty rabbit hole of Billboard chart-gaming, into a world of ‘stream farms,’ crafty product tie-ins, ‘playola,’ and other nefarious weapons to land a number one. No, these are not wholesome ‘tips and tricks,’ but at least you’ll know what you’re up against (or, maybe you’re ready to cross over into the dark side).

At one point, Gooden flat-out called the Billboard charts ‘rigged’. It’s almost as if a touchdown pass counted for 6 points, then 9 points, then 4 points, all in the same season. “Things are getting out of hand,” Gooden lamented.

Sadly, too much chart manipulation could be bad for your health and fanbase — especially if it comes at the expense of your music. And Gooden said it’s the wrong path for most artists. “Things are getting out of control,” Gooden reiterated.  “We just have to have incentives for everyone to play fair”.

Wishful thinking?

Here’s our interview with Reggie.

Lucidious

Warning: Spotify playlists may be damaging to your career. Ari Herstand explains why.

What?  You’re not subscribed to the Digital Music News Podcast?  We’re available on iTunes, Spotify, Google Play, Stitcher, and pretty much everywhere else.  Or, simply listen to the embed below.

Lucidious was a talented musician with a growing fanbase and a well-paying day job.  But he also couldn’t get onto a Spotify playlist to save his life.

Now, he’s making $250,000 a year with a rabid and growing fanbase.  And he’s still not getting any Spotify playlist love.  So how is that even possible?

Ari Herstand, author of How to Make It In the New Music Business, explained that getting included on massive playlists can actually be damaging to an artist’s long-term career. He’s seen it firsthand — and in this podcast, he breaks down why.

Strangely, getting shut out of Spotify playlists actually forced Lucidious to earn fans in a more meaningful way.

“While everyone was going towards playlists, and he went the other way,” Ari explained.  “And, he ignored playlists because playlists ignored him. So instead of beating down the door of every playlist editor and begging to get included on a playlist like every other person in the music industry was doing — and is still doing — he asked himself, ‘what is my ultimate goal here? — my ultimate goal is not to get on playlists. My ultimate goal is to get fans, and to make money from my music.'”

Shockingly, artists that are included on playlists with tens of millions of followers can have difficultly filling venues.  Or even getting a respectable amount of people to show up. “I see this all the time,” Ari relayed.  “Someone has 100 million Spotify streams, and nobody knows the artist’s name, and they can’t sell 50 tickets to their hometown shows.  So they book a show, then nobody shows up — because people are fans of the playlist, and not fans of the artist.”

“Getting onto hot playlists is getting you a lot of streams,” Ari explained.  “But it’s not getting you a lot of fans.”

Here’s our interview with Ari Herstand.

The Pretty Things | Photographer: Joop van Bilsen (ANEFO) – GaHetNa (Nationaal Archief NL)

I recently had the opportunity to speak with Phil May from the band, The Pretty Things. One of the most influential people in rock history, and you’ve probably never heard of him.

Phil May is a founder of a band called The Pretty Things.  He founded the group with Dick Taylor in 1963.  Taylor had previously been in a band called Little Boy Blue And The Blue Boys with Mick Jagger and Keith Richards.  That group would eventually become The Rolling Stones.

The two bands would ultimately go in very different directions artistically, but early on, they were somewhat rivalrous. There was even an instance in which Jagger himself insisted that The Pretty Things not be allowed to perform alongside the Rolling Stones — more on that in the interview.

The Pretty Things were born in an era in which rock music was still something risqué.  This would pose a problem for the band as they became the first British band to get busted for drug possession.  In an era in which parents were already wary about letting their kids listen to The Beatles, The Pretty Things were something parents definitely didn’t want their kids to listen to.

The band would undergo numerous changes throughout their history.  They had 33 members over the years and the band went through numerous artistic changes as rock music evolved between 1963 and 2019. They evolved from rhythm-and-blues to psychedelic to a more traditional ‘classic rock’. Interestingly, the band was banned from New Zealand for their corrupting influence on youths, according to May.

The Pretty Things have had a profound influence on music as we know it.

They had rock superstars such as David Bowie and Steven Tyler as fans.  Bowie even covered two of their songs on his album Pin Ups, and May discusses in the interview how much of a super-fan he was.  More controversially, their album S.F. Sorrow was the world’s first rock opera.  It was an album that clearly influenced The Who’s Pete Townsend and their album, Tommy, although Townsend refutes that fervently.  In the interview, May discusses how he knows that Townsend had listened to it. Things got heated — listen to the interview for more on that.

My copy of “The Final Bow” by The Pretty Things

When you look at The Pretty Things’ catalog of work, you may start to wonder why you haven’t heard of them — especially if you’re savvy in classic rock.  There are a few reasons why, and we delve into those in this podcast, but it boils down to the industry focusing on commerce over innovation.  This is a natural byproduct of business as it intersects with art.

The band wanted to try new things, make great music, and not be confined to making albums that sounded like their previous releases.  This presented a problem for labels, who were focused intently on their ROI.

The band remained strong and continued to release albums, even despite this.  The band did recently put on a farewell show, The Final Bow, with special guests like David Gilmour and Van Morrison. You can purchase the vinyl and DVD combo from Burning Shed.

Check out the podcast to learn more about the band and one of rock-and-roll’s most interesting stories!

‘Bone conduction’ headphones are one of the strangest things you’ll try.  But they amazingly transmit audio while keeping your ear canal open to other noises.

What?  You’re not subscribed to the Digital Music News Podcast?  We’re available on iTunes, Spotify, Google Play, Stitcher, and pretty much everywhere else.  Or, simply listen to the embed of our latest episode below.

It’s a little trippy.  But it works.  And it’s about 1,000 times safer than AirPods during activities like cycling, driving, or running outdoors.

Sensing an opportunity to solve a big problem, Conduit Sports is one of the early makers of ‘bone conduction’ headphones.  The company’s cofounder, David Nghiem, sent a pair of Conduit Motion headphones to our offices, and I immediately demanded an explanation.

How do these headphones, which specifically do not go over the ears, transmit audio?

A few days later, Nghiem joined us on the Digital Music News Podcast to discuss how ‘bone conducting’ headphones actually deliver intelligible audio to the brain.

The simple explanation is that bones around your ear canal can pick up vibrations and transmit them into your inner cochlea.  The inner cochlea houses tiny hair-like cells called cilia, which then trigger nerve impulses that are interpreted by the brain.

But the actual source of the sound waves isn’t critical — they end up getting interpreted in roughly the same way by cilia cells.

“The cilia don’t care where the vibration is coming from,” Nghiem said.  “They don’t care if it’s coming from your ear drum, they don’t care if it’s coming from your bone.”

That explains why the way you hear your own voice differs from a recording.  “If you hear your voice reflected back to you in a recording, it sounds very different from the way you hear yourself,” Nghiem explained.  “When you’re talking, sound is conducted through your body to your inner cochlea, so it sounds a certain way, which is different from what someone else hears.”

A similar principle applies to bone conduction headphones.  “Imagine if you had a stereo system almost inside of your head, it’s vibrating through the bones of your body, much like your own voice vibrates through your bones when you’re talking to yourself.”

Sounds fantastically theoretical.  But in practice, it actually works.

It should be noted, however, that the overall sound quality isn’t higher-end.  That makes little difference for audio like podcasts, though fidelity on music is significantly worse than a higher-end headphone — or even AirPod — experience.

But Nghiem sees a huge upside: your life.

Instead of blocking out sound, the Conduit Motion headphones allow outside noises in.  That dramatically increases safety for bicyclists, which is why Conduit is chasing this market first.

Interestingly, the city of Washington, DC, which is minutes from Conduit’s offices, just passed a law prohibiting traditional headphones while biking.

The reasons for that law are obvious, and accordingly, other jurisdictions like California, Oregon, Philadelphia, and New York City are also following suit.  All of which could prove to be a boon for companies like Conduit.

Listen to our podcast interview with David here, check it out on iTunes, Spotify, Google Play, or Stitcher, or listen to it below.

Maybe passing the Music Modernization Act (MMA) was the easy part.

What?  You’re not subscribed to the Digital Music News Podcast?  We’re available on iTunes, Spotify, Google Play, Stitcher, and pretty much everywhere else.  Or, simply listen to the embed below.

It was a momentous achievement for a previously fractured music industry.

The Music Modernization Act, signed into law by President Trump in October of last year, signaled a brand-new level of cooperation between music publishers, streaming platforms, the radio industry, and the broader tech industry.

Champagne bottles were uncorked as we gazed at the big blue sky ahead.

But now that the bill has passed, a whole new chapter of in-fighting has begun.  That includes a heated dispute between publishers and Spotify, Google, Amazon, and Pandora over mechanical royalty rates.  And when it comes to the critical functions of the MMA itself, there’s also a major battle brewing.

The focal point for the latter debate is the as-yet-created ‘Mechanical Licensing Collective,’ or MLC.

The MLC, which is outlined in the language of the MMA, will be tasked with tracking, collecting, and paying out billions in mechanical royalties from platforms like Spotify and Apple Music.

But who gets the run the MLC?

In this edition of the Digital Music News Podcast, we talk to a board member for one of two contenders, the American Mechanical Licensing Collective, or AMLC.  Ricardo Ordoñez, head of Miami-based Union Music Group, is a board member of the AMLC and an outspoken critic of major publishers like Sony/ATV Music Publishing and Universal Music Publishing Group (UMPG).

Those mega-publishers have their own MLC contender, as well.  Perhaps presumptuously, the bigger group has simply called themselves the ‘MLC,’ and declared themselves the winner of this contest by ‘industry consensus’.  But Ordoñez says that’s unfair, while claiming that the AMLC actually holds a broader consensus among indie publishers and songwriters, a group that stands to lose billions in royalties if major publishers run the show.

How many billions?

Ordoñez says there’s at least $1.2 billion in unmatched royalties being held by streaming services.  But that’s just for royalties through 2017 — and 2018 was the biggest year yet for streaming services.

“It’s about $1.2 billion,” Ordoñez relayed.  “It’s the so-called ‘black box’ of pending royalties, because these titles, these songs are unidentified.”

So what’s the easiest way to match those royalties and get them paid out?  Ordoñez says there’s a huge conflict of interest here, because the largest companies are already getting direct payments from mega-streamers like Spotify.

They have their own deals, and have little need for the MLC.

“All the major companies, all the major publishers, already have a direct collection license with Spotify,” Ordoñez noted.  “They already collect for the copyrights they own, directly from Spotify.”

“So why do the major publishers want to collect this $1.2 billion in unmatched funds, if they’ve already been paid?”

I asked how the two contenders should be evaluated.

But at this stage, it’s not even clear if the U.S. Copyright Office will be conducting a competitive bid.  In fact, the more we dig in, the more chaotic and unclear this entire process seems.

Not exactly what the industry had in mind when the MMA first passed into law.

Your money’s inside.

Investors are continuing to pile into music publishing catalogs for a more reliable return.  But publishing assets come with their own portfolio of headaches — according to these investors who are actively dealing with them.

What?  You’re not subscribed to the Digital Music News Podcast?  We’re available on iTunes, Spotify, Google Play, Stitcher, and pretty much everywhere else.  Or, simply listen to the embed below.

We’ve written extensively about the music industry’s notorious ‘black box,’ which refers to billions in royalties that remain unrecoverable.  Now, investors are finding out just how difficult royalty recovery can be, even with partners like Kobalt, Paradise Distribution, and Exactuals.

Sadly, if you’re the owner of a substantial publishing catalog, you’re probably also the owner of a major headache involving data recognition, messy accounting, fraud, and lost revenues.

But how bad is this problem?

In our latest Digital Music News Podcast, recorded in Hamburg, Germany, I touched upon this issue with two European investors actively invested in music publishing.  They had 99 problems — at least.

“The problem is to get the money back from the different collection agencies, and it’s a nightmare,” said Thierry Baujard, founder of Europe-focused media investment firm Mediadeals.

“We’re losing a lot of money from errors and mistakes.  People don’t understand the titles, and it’s lost in Latin America and other places.”

Baujard was honest with me.  Getting paid on publishing is a lot harder than he imagined.

“So that’s a big problem.  So we have quite a big publishing company now specialized in film music, and to get the money back is taking much more time than we thought.  We see that there are many mistakes.”

But not just time — it costs a lot of money to recover your money.

“The problem of course is the cost the we have to spend, the level we have to spend [to recover payments] — the money coming back is quite small.  So to pay someone to do it — we already have a company taking a commission of 30% — I guess we have to go with that, but it’s very, very expensive.”

I asked Thierry what the solution to this mess was.  He answered with one word: lawyers.

“At the moment, the best solution we have is lawyers,” Baujard told me.  “It’s a bit sad… it’s obviously very sad and takes a lot of time and money as well.”

Baujard told me he’s actually working with two legal teams, and has to personally send attorneys to various PROs to make claims.  He’s also hired a company that scans every TV station in the world, then compares all of that data against the statements coming back from the PROs.

The results are pretty depressing.

“On two films, for example, there were a lot of differences,” Baujard said.  “We know this film has been shown on 25 channels, and the collection agency shows it was on 5 channels.  So the question of course is whether the other 20 channels will come in the next 6 months or not.”

“Probably not,” I said.

Oke Goettlich, head of Göttlich GmbH, pointed to a desperate need for technological solutions.

“I’m invested in a publishing company,” Goettlich relayed.

“There are challenges which are not solved by the old industry, and you need to have this new technology set up — digital data interfaces, and even collecting information on which songs were performed and where.”

I thought that was the job of the PROs like GEMA, SACEM, and ASCAP.  But it’s not quite working that way.

“Many PROs are collecting money and distributing it to the well-known artists, but not the ones that are actually played.  It’s completely unbearable that the PROs who are spreading most of the money in this whole game, are not able to track exactly where this money belongs.”

Goettlich has been grappling with rights issues for a long time.  He started bootstrapping German-based distributor Finetunes more than a decade ago, and recently sold the company to The Orchard.

Here’s our podcast, which focuses more broadly on the issues that investors face with music startups and investments.

(You can check out the Digital Music News podcast pretty much everywhere, including iTunes, Spotify, Google Play, Stitcher, or simply listen to the embed below).

The HafenCity quarter of Hamburg, Germany, where three interesting live concert concepts are bubbling (photo: Michael Krämer)

 And if it’s not one of these companies — it’ll be one of their competitors.

What’s wrong with the live music space?

Before you answer that question, consider that the live concert industry has been absolutely exploding over the past decade.  According to one recently-published stat, US-based concert revenues in 2017 alone topped $5.65 billion, a 33.3% jump over 2011 figures.  So certainly a lot is going right within the live music space.

But that doesn’t mean that there aren’t huge problems to address, and even bigger opportunities to chase.  In fact, further revenue growth is likely to be fueled by innovators within the ticketing, smaller venue, live-streaming, VR, and licensing realms.

In our latest edition of the Digital Music News Podcast, we sat down with three startups tackling distinct areas of the emerging live concert business.

That includes Martin Erler, whose company Flits is now tackling a very tricky problem involving live concert song recognitions (and subsequent PRO reporting).  But how can a machine detect a live song, where technologies like fingerprints and metadata-scraping are out the window?

The cast of innovators also includes Fabio Buccheri, whose Noys VR is working to augment the live experience with virtual reality.  Buccheri has already inked deals with Warner Music Group and the Hamburg-based Elbjazz Festival, while also garnering investor support.  But Buccheri isn’t out to replace anything — here merely aims to augment live music with experiences that make the in-person experience cooler.

But when’s the moment when VR starts to really mean something for artists?

And what about the smaller concert space?

Local clubs in cities like London are screaming bloody murder, but maybe smaller gigs are taking a different, more decentralized path.  Enter SofaConcerts, whose cofounder Marie-Lene Armingeon is building a decentralized platform for smaller gigs in apartments and other non-traditional spaces. 

That’s going head-to-head with the likes of Sean Parker and Richard Branson, both of whom are backing the similarly-titled SOFAR.  Airbnb is also tinkering in this area, all of which suggests a huge potential change in this small-gig space ahead — with or without smaller clubs.

Here’s our latest podcast interview — live from the HafenCity quarter of Hamburg, Germany.

(And before you jump in: if you like this podcast, subscribe to the Digital Music News Podcast on iTunes, Spotify, Google Play, or wherever you listen to podcasts…)

Bogota, Colombia

Streaming music subscriptions are exploding in regions like North America and Western Europe.  But why isn’t the same thing happening in musical hotbeds like Latin America?

According to the latest research, the number of paid streaming music subscribers will hit 235 million by the end of this year.  But most of those gains are happening in countries like the United States and higher-income European countries.

So what about less wealthy countries like Argentina, Chile, Colombia, and Brazil?  In the aggregate, Latin America counts approximately 640 million inhabitants, and a very large percentage have smartphones and mobile data plans.  But according to Oscar Castellano, CEO Americas for Deezer, roughly 4-5 percent of those people are paying for streaming services.

Castellano outlined the figure in our latest podcast (check it out below). “Penetrations [of premium subscribers] in Latin America are probably in the range of four, five percent,” Castellano told us, while pointing to a range closer to 1-2 percent in the Middle East and North Africa.

Frankly, the 4-5 percent figure sounds a bit high.  But the problem obviously isn’t a lack of interest in music.  Latin Americans are notoriously music-obsessed, and known for spinning entirely new genres like reggaeton, dancehall reggae, and champeta.  That quickly bleeds into other regions of the world, with smash hits like ‘Despacito’ offering ample evidence.

Unfortunately for the business side of things, a disproportionately large number of Latin Americans are primarily listening to music via YouTube or radio.

Some of that is rooted in poverty, though Castellano outlined some tricky problems involving pre-paid mobile plans and even currency fluctuations.   For example, massive currency devaluations in Argentina are making it difficult to truly scale streaming music services, and artists bear the brunt of the depressed monthly payments.

Regardless, Castellano told us that Argentina’s streaming subscription base is more than doubling year-over-year.  Of course, Deezer wants a big chunk of that, and solving seemingly intractable issues is the way to achieve that.

May the most creative and experimental streaming service win…

Miles Davis’ Live-Evil LP in Quadraphonic, 1972

Quadraphonic sound was one of the earliest surround sound technologies that emerged in the 1970s. It was technically known as ‘4.0 surround’ in audiophile speak. The idea was to have 4-speakers in each corner, which was a significant breakthrough in audio technology. However, quadraphonic sound did not survive for long and faded away from the music technology landscape in the late 1970s. It was considered cumbersome, extremely expensive, and accessible to only a slim group of artists.

Once the format was released, it could only be played with complicated 4-speaker systems, which also required lots of space and disposable cash. As a result, quadraphonic sound was not widely adopted, and the introduction of the CD further sealed its fate. The 2-channel stereo surround technology, on the other hand, stuck around and became the standard for surround sound.

Fast forward to the present day, and surround sound audio technology has leapt through numerous generations. Most movie theaters have surround sound systems that put quadraphonic to shame, and higher-end home theater systems are also deploying sophisticated spatial audio solutions. Despite this, LA-based audiophile, studio owner, and entrepreneur KamranV is bringing quadraphonic sound back.

One of the reasons for the revival of quadraphonic sound is accessibility. According to KamranV, it’s much easier for a creative person to think in four corners and make creative decisions in four corners. Modern-day spatial audio technologies are extremely technical and out-of-reach for most artists. “Many of them are done by technicians and not creative people. And the reason is that to achieve what that technology is asking of you, it requires a great deal of work,” KamranV explained.

Quadraphonic sound is more musical and creative, according to KamranV. He can think that way and write a song that way. It’s easier to create a soundscape that is immersive and engaging with quadraphonic sound. KamranV has already released a live quadraphonic album involving electronica artist Suzanne Ciani. He released 227 copies at a clever price of $227 each, and they sold out quickly.

KamranV is not the only one bringing back quadraphonic sound. The German audio company, Sennheiser, has also released a new soundbar that supports 3D audio, including quadraphonic sound. The soundbar uses 13 speakers to provide an immersive audio experience, and it also works with Dolby Atmos and DTS:X codecs. The Sennheiser Ambeo soundbar is more accessible than the quadraphonic sound systems of the 1970s, but it’s still expensive at $2,500.

Quadraphonic sound is not a new technology, but it’s making a comeback because it’s more accessible and creative than modern-day spatial audio technologies. It’s easier for artists to create immersive soundscapes that engage listeners with quadraphonic sound. KamranV is leading the revival of quadraphonic sound, and he’s already released a live quadraphonic album that sold out quickly. Other companies like Sennheiser are also bringing back quadraphonic sound in new and innovative ways. It will be interesting to see how quadraphonic sound develops in the coming years and how it compares to modern-day spatial audio technologies.

Here’s our deep-dive exploration into this curiously attractive audio technology, recorded from the Making Vinyl Conference in Detroit.  Enjoy!

On October 11th, 2018, the Music Modernization Act (also called the MMA) was signed into law.  But what exactly does this mean for songwriters, publishers, streaming platforms, and other players?  Here are some of the painfully detailed answers.

We’ve been covering the Music Modernization Act for months — maybe years given the endless false starts and issues leading up to this legislation getting passed.  Now, the Act has officially become law, with huge ramifications for the entire music industry for decades to come.

But what exactly does this law entail, from a nitty-gritty licensing standpoint?

Even more importantly: what changes are now set in motion, and how long will it take to enact them?  And what should songwriters, publishers, labels, streaming platforms, and everyone else be doing to prepare themselves for the next steps?

And of course — get paid?

For answers to these and more pressing questions we interviewed Jeff Price, founder and CEO of Audiam, a company that happens to specialize in one of the most important licenses affected by this law.  This interview starts at the beginning, and ends (90 minutes later) in the not-so-distant future, when institutions like the Mechanical Licensing Collective (MLC) will become reality.

I tried to ask every question I could about this bill, in the most exhaustive way possible.  But even after an hour-and-a-half, I realized that we could continue for another hour-and-a-half on matters like pre-1972 oldies, producer credits, the fate of non-MLC administrators, and a myriad of other related topics.  So maybe we’ll need a part II (or III).

Beyond this discussion, Jeff also compiled a detailed breakdown of the MMA, which you can find below.  After that, you can find the audio embed of our highly-detailed podcast interview.

(And if you’re not already subscribed, you can also pick up the Digital Music News podcast pretty much everywhere, including iTunes, Spotify, Google Play, Stitcher, and more).

______________________________________________________

The Music Modernization Act runs over 170 pages and, due to an international agreement called the Berne Convention, impacts every single songwriter and representative of a music copyright in the United States and any other country in the world.

Among other things, the Berne Convention dictates that the laws of the country where the music was purchased, streamed, or played will apply,

The MMA has three main parts to it.

(1) Music Licensing Modernization

This part of the MMA changes how Spotify, Tidal, Amazon Prime, Apple Music, etc. (called digital music providers or ‘DMPs’) get licenses for the “composition” (the lyric and melody to a song). It also changes how the government determines what the royalty rate should be for each stream.

(2) The Classics Act

This part of the bill changes how recordings made before 1972 are treated. In the US, when sound recordings recorded before 1972 were played on digital radio (think SiriusXM Radio), no royalties were required to be paid to the record label or the people that performed it (i.e the band members). However, when sound recordings recorded after 1972 were played on digital radio royalties were required to be paid to the record label and performers.

With the passage of the MMA, when sound recordings made before 1972 are played on digital radio, royalties will now be required to be paid to the record label and performers.

(3) Allocation for Music Producers (AMP)

This part of the MMA provides a way for “music producers” and other people that helped make a recording of a song a way to participate in royalties generated when the sound recording they worked on is played on digital radio (again, think SiriusXM Radio).

This rest of this article is going to focus on the Music Licensing Modernization part of the MMA.

The MMA, Music Licensing Modernization and Mechanical Royalties

The MMA significantly impacts and changes the licensing and payment of something called digital “mechanical royalties” in the United States. Mechanical royalties are royalties owed to the entity/person that controls the “composition” (the lyric and melody) of a song.

For example, Sony Records hired Whitney Houston to sing “I Will Always Love You”. The recording of the song is owned by Sony Records. However, Dolly Parton wrote the composition (the lyric and melody). Dolly Parton owns the “composition“ and is the songwriter. The MMA globally impacts songwriters, and the people that work for them, no matter what the songwriter’s nationality is or where they live.

How Music Services Can Get a License to the Composition Under the MMA

If a U.S. based interactive music service (i.e. Spotify, Apple Music, Google Play, Amazon etc.) follow the rules of the MMA, the music service will:

• Have a U.S. license to every single musical “composition” on the planet (past, present and future)
• Not have to know whose music they are using
• Not have to ensure the songwriter is paid their royalties (more on that later)

In addition, it makes it much much harder to sue the digital music service for something called “statutory damages” due to copyright infringement. Statutory damages are an amount of money awarded by a court to the copyright holder for infringement based on the court’s discretion, as opposed to how much money may have actually been lost.

The amount the court can award for copyright statutory damages can be as high as $150,000 for each infringement. For example, if you wrote ten songs and all ten songs are infringed upon the copyright owner could sue for 10 x $150,000 in damages.

As you can imagine, statutory damages provide a copyright holder a significant lever to assure they are properly licensed and paid. The MMA instantly gives the music services licenses to all compositions (provided they follow the rules) without having to ensure the copyright holders are paid earned royalties thereby protecting the music services from being sued for statutory damages for copyright infringement.

Next, a new U.S. based quasi-governmental entity will be created called the Mechanical Licensing Collective (or MLC).

How The Mechanical Licensing  Collective (MLC) Works

The MLC will:

• Get all the information as to what recordings streamed as well as get all the money for the associated mechanical royalties from the music services.
• Be responsible for paying all copyright holders/songwriters around the world the royalties they earned.

There are a number of requirements in the MMA about how this is to be established and implemented. Many of the specific details are not spelled out and it remains to be seen what they will be.

That said, the MMA does discuss what happens to royalties if the entity/person that earned them cannot be located. For these earned but unpaid royalties they will be held onto and called “unclaimed accrued royalties”. After a minimum of three years, these “unclaimed accrued royalties” can now be taken from the rightful songwriter/copyright owner and be given to others based on these other entities U.S. financial music publishing market share.

Note that for these other entities to be eligible to receive this money they do not need to actually use the MLC for licensing (more on that below in the Direct Licensing section).

This concept of unclaimed accrued royalties also applies to all the “old” unpaid royalties that have been sitting in the U.S. from the beginning of the streaming music industry until the passage of the MMA; a one-time amount reported to exceed $900,000,000.

For these “old” royalties, the time frame to potentially take the rightful songwriter/copyright owner’s money and hand it to others is even shorter; one year.

Not Using the MLC For Licensing: A Direct License

It is important to note that the MLC can only license and collect “pure” section 115 digital mechanicals as defined in the United States under something called section 115 of U.S. Copyright law. This means the MLC cannot license:

• Synchronization licenses
• Public performance licenses
• Lyric licenses
• Hybrid licenses (a combination of different rights and licenses rolled up together)
• Derivative licenses (i.e. sampling)
• etc.

In addition, the law does not require the music services to get any needed license from the MLC. It is possible for the music publishers (i.e. the entity working for the Dolly Partons of the world) and the music services (the Apple Musics of the world) to license directly with each other. If there is a direct license between the music service and the entity that represents the copyright owner (like a Mechanical Rights collection agency like Audiam), the MLC can play no role in licensing or collection.

However, if the music publisher and the music service enter into a direct license, and the music service is considered “significant” (a legal definition that has to do with how much money the music service makes each month or year) then that music service must pay an “administrative assessment” – basically a penalty fee – to the MLC.

The music service must also give confidential information to the MLC from the direct licenses as to what compositions and recordings are being used, how many times the recordings streamed, how much money has been generated in royalties and the point of contact for the copyright owner(s). The reason for this has to do with the MLC needing most of this information to determine market share of the entities – even those that don’t use the MLC – eligible to receive a portion of the “unclaimed accrued royalties”.

This does bring up a few concerns; first, that someone at the MLC might see this confidential information and then use it to try to do deals with the copyright owners. This is also addressed somewhat in the MMA as there must be “the adoption of regulations to provide for the appropriate procedures to ensure that confidential, private, proprietary, or privileged information contained in the records of the MLC and DLC is not improperly disclosed or used”. What these regulations are and how they are enforced remains to be seen.

Next, there is nothing in the MMA that stops a board member of the MLC from being allowed to participate in and receive the unclaimed accrued royalties. This creates a possible conflict of interest (i.e. do I pay myself or find a way to pay the rightful owner).

Once the rightful copyright owner/songwriter’s money from the “unclaimed accrued royalties” is given away, the MMA provides no mechanism for the copyright owner to ever recover it; the money appears to have been taken, given to others that don’t own or represent the copyright and is gone forever.

How To Get Paid Mechanicals From The MLC

In order to be eligible to get paid earned U.S. mechanical royalties, the copyright representatives/songwriters must register their copyrights directly with the MLC.  How this happens and what information is required are still being sorted out.  It does not matter what country the songwriter or entity that controls the copyright is from or where they live; every single entity that controls a composition in the U.S. as well as every single entity that controls a composition in the rest of the world MUST register with the U.S. based MLC to be eligible to be paid their mechanical royalties or their money can be taken.

Instead of the music service having to locate the rightsholder, getting a license and then paying them the burden is now the other way around; the rights holder must know about the MLC and properly register to get paid.

If the copyrights are properly registered with the MLC and the MLC makes mistakes and cannot figure out whom to pay – at absolutely no fault to the entity that controls the copyright – the money owed to the entity the controls the copyright can still be taken and given to others based on their U.S. music publishing financial market share.

The People Running The MLC; The Selection of the Board Of Directors

Next, there will be a yet to be named board of directors for the MLC consisting of fourteen board members and three non-voting members. Note that the MMA does NOT require a board member to be a U.S. citizen. As such, a board members can live or be from any country in the world as long as they meet the requirements.

Of the fourteen board members:

• Ten must be “music publishers” (Companies hired by the Dolly Partons of the world to license and collect their money)
• Four must be self-published songwriters (Dolly Partons that never did a deal with another company to license and collect their money and still control all of their rights)

For the three non-voting members:

• One must be a representative of a non-profit trade association of music publishers representing the greatest percentage of licensor market for use of musical works in covered activities;
• Another must be a representative of the “digital licensee coordinator”( another position being created by the government on behalf of the music services).
• The third must be a representative of a nationally recognized non-profit trade association whose primary mission is advocacy on behalf of songwriters (like the Content Creators Coalition, Music Answers or the Songwriters Guild Of America).

These board members and observers will oversee, advise etc the operations of the MLC . They will also have influence and input into when the unclaimed royalties are taken from the unidentified copyright owners. They will also work to find ways to resolve “disputes” (for example, when more than one entity says they own the same composition).

Also, an entity does not need to use the MLC in order to be eligible to sit on its board and/or partake in the unclaimed accrued royalties. And again, despite the potential conflict of interest, the MMA does not preclude a board member from participating in the “unclaimed accrued royalties”.

The Selection of the MLC

There is not a pre-established entity that is going to be the MLC.  Nor are the board members yet identified.  The way the MLC comes into existence is that within 270 days from when the bill was signed (in this case October 11th, 2018) the Register of Copyrights does the following:

• Not later than 90 calendar days after the “enactment date” (basically when the bill was signed into law), publish notice in the Federal Register asking for information to identify the appropriate entity, including the name and affiliation of each member of the board of directors and each committee
• After reviewing the information collected, the Register will publish the identity of and contact information for the MLC in the Federal Register, along with reasons for the designation.

When Does All This Kick In?

All of the above is phasing in over the next two years.  In the interim, there are some rules in the law that discuss how the transition should be handled.  But until two years from now, the existing system we have will more or less still apply.

What to Do Between Now and When the MLC Exists to Get Your Money

As we wait for the MLC to come into existence, the best thing to do is everything you can to get your earned but unpaid money now. This will ensure your money does not end up in the “unclaimed accrued royalties” pile that can later be taken.

Also, if you have your information prepared ahead of time, when the MLC does come into actual existence, it will be easier for you to submit.

To do this, you must identify what has not been paid to you by looking at streams of sound recordings of your compositions. This is done by looking at the streaming music service statements provided to you OR by looking at stream counts of recordings of your composition in the music service where they have streamed then identifying which streams you have not been paid mechanical royalties on.

Once you have verified you have earned mechanical royalties that have not been paid to you, you should contact each music service, tell them you have not been paid and provide them your data (including contact information) for payment.  Note, distribution entities like Distrokid, TuneCore and CD Baby are not paid these streaming mechanical royalties to then be paid to you.

The music service must pay you directly until the MLC comes into existence. Also note, if the music service was not licensed but used your composition anyway, you can no longer sue the music service for statutory copyright infringement damages. The MMA says the last day you could have done that is December 31st, 2017.

Another option to recover your money and get your data ready for the MLC is to affiliate with a U.S. based Reproduction Rights entity. The entities work for music publishers and self-published songwriters to license and collect US streaming mechanical royalties (i.e. Audiam.com). If they begin to work for you now, they can identify which part of the $1,000,000,000 in earned but unpaid royalties are yours, get your portion into your pocket quickly while ensuring your money does not end up in the “unclaimed accrued royalties” pile where others can take it.

In addition, the Reproduction Rights collections agencies are typically direct licensed with the music services removing the MLC from the process and creating a more efficient and simpler licensing and collection solution for the music services and music copyright holders.

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Jeff Price is currently the CEO & founder of the US and Canadian mechanical royalty licensing collection agency Audiam. He is also founder and former CEO of TuneCore. In addition, he is the co-host of the podcast 21KHz: The Art Of Money In Music.

Bibi McGill

“There are no rules for success,” says Bibi McGill, leader of Beyonce’s band, Suga Mama.  But these 16 principles just might change your musical career.

This is the person that Beyonce trusts to manage, direct, and coordinate her backing band on tour.  The band is called Suga Mama, and it’s part of a massive roadshow that plays the biggest arenas in front of tens of thousands of people every night.

But that’s just one gig for Bibi McGill.  And it all started with a phone call to play guitar for Pink back in the early 2000s.  She had to write the guitar parts for multiple songs on a plane ride to New York — in coach class.  Then she went straight to the studio from the airport and crushed it.

These days, she’s focusing on her professional yoga career.  In fact, we caught up with her right after an intensive yoga session at Glen Ivy Hot Springs in Corona, CA.  We asked Bibi how she became one of the top guitarists in the world today, not to mention a professional yogi and Beyonce’s collaborator.

Here’s what she told us.

1. Bad attitudes kill careers.

“Are you the type of person that people want to work with?” Bibi asked me.  

“You may be able to play circles around me on guitar.  But if you can’t show up on stage with charisma, if you’re the person that shows up late and doesn’t do your homework and doesn’t come prepared, or you’re just a jerk and have a bad attitude and you’re egotistical… you’re not going to get the job.”  

“I’m going to get the job.”

“I’ve worked with people who are cocky, and they’re a lot better than me.  But I get more work because people don’t want to work with them.”

2. You don’t have to be the best. But you do have to be damn good.

“There are musicians at much higher levels than me,” Bibi admitted.  “They can hear a symphony for the first time and play it on the piano.”

But you can still get the gig — especially if you’re talented and can play under pressure.  “You have to learn how to read music, and train your ear,” Bibi advised.

3. Success is lonely.

Being Beyonce’s band leader sounds like the ultimate dream job.  Except that you’re not really hanging out with Beyonce the whole time.  And when you are, it’s typically work-related.  Because there’s a ton of work and coordination needed on a full-blast, arena-level tour.  And the deadlines are right now.

Bibi also told me about constant coordination between Beyonce and the group.  And as band leader, there are lots of difficult situations and hard decisions to be made.   Add a disciplined schedule and yoga routine, and it can be a pretty isolating experience.  

4. Play your personal style, not someone else’s.

It took Bibi years to appreciate and develop her unique, personal style.  That turned out to be a game changer.  “Learning to play from your heart…  I didn’t know I had a style until people kept telling me, ‘wow your style is so unique!’.”

“I never tried to copy anyone,” Bibi told me.  “Find out who you are and learn to express yourself authentically.”

“If you really want to be successful and make a career at this, whether it’s semi-pro, or pro, or part-time of full-time like I have done; like I said, being true to yourself.  It’s not just about how good you are at guitar.

“It’s about the full package.”

5. Forget about fame and fortune.

“That was not something I was ever looking for.  I just wanted to be the best I could be on the guitar — and hope that people appreciated it.”

6. You will never ‘make it’.

Bibi still takes lessons, and still practices, and still learns more things to expand her abilities.  She’s never reached the pinnacle (at least in her mind).  “I don’t think you ever ‘make it’,” Bibi said.  

“I always want to be better.”

7. Learn musical theory, then forget it.

People spend years cloistered in music institutions learning theory.  That stuff is good to know, but it’s also good for pop musicians to forget.  “I went to college and studied music for four and a half years,” Bibi told me.  “I was taught theory, and was very technical in my thinking.  But when I got out of college, I had to unlearn all of that.  I had to learn to play from my heart and my soul.”

“It took me years to unlearn what I learned in college.  If I hit a wrong note on stage, I’d just bend it and go to something else.”

8. Don’t party. Go to bed early. Then wake up and do your yoga.

Bibi said she rarely went out and partied on tour.  Instead, she went to bed early, then got up early and did her yoga.  As a result, she was never suffering from a hangover and was always calm and focused.

“I do my yoga even more diligently on the road,” Bibi said.  “Six days a week, on the road.

“People would show up with a hangover.  I was asked many times, ‘why are you always in such a good mood?’  Well I didn’t poison myself last night.”

9.  ‘Nothing & nobody is perfect.’

Don’t let perfection be the enemy of good.  “I’m so not interested in perfectionism,” Bibi told us.  

“Nothing and nobody is perfect.  I want to be good, I want to be professional.”

“But you do need to be the best you can.  Show up, be present, do the best you can.”

+ Prince Trumpet Player’s 14 Rules You Can’t Break If You Want To Turn Pro

10. You might not need a formal music education.

Formal training is definitely beneficial for jazz and classical artists.  But Bibi’s not quite sure a pop musician needs it.

“In a professional setting, you can read music if it’s needed.  Or you can also learn by ear,” Bibi told me.  “If it’s pop music, you’re going to be playing by ear.”

And, you might want to skip a musical education entirely.  “Some people don’t need to go to college at all, and they can still be successful and have a successful career in music,” Bibi said.

11. Learn to play on the spot.

Part of the reason is that pop and rock musicians are usually required to create their parts — right then and there.  “I’ve never had to read music, it’s always by ear,” Bibi said.  “Because nobody has time to write out charts for everyone.  It’s easier to say, here’s the music, learn it and show up and let’s play.”

Actually, Bibi’s big break came with Pink.  The artist asked Bibi to make a guitar part for a few of her unreleased songs — right now.  Bibi had to figure out the entire guitar complement on the plane ride to New York — in coach class without her guitar in hand.  Then she hopped into a sedan at the airport and went straight to the studio, where she laid the guitar parts down.

12. Focus on learning experiences, not mistakes.

Bibi isn’t bogged down by so-called ‘mistakes’.  Instead, everything to her is a learning experience.  “There’s nothing at the forefront of my brain that says, ‘oh man, I shouldn’t have done that,” Bibi told me.

13. Just say ‘no’ if it disagrees with your ethics.

Be guided by bigger principles; it isn’t only about the money.  “Don’t just say ‘yes’ because you don’t think you don’t have any other options,” Bibi said.  

14. Slim it down!

Giant bands and huge musical ensembles are expensive!  Which is why when Bibi isn’t touring with Beyonce, she’s playing a one-person, super-compact gig.  That night at the Glen Ivy Hot Springs resort (where we did the interview), Bibi was DJing — solo.  “All of my guitar gear fits into a backpack,” Bibi laughed.  “And there’s no guitar tech[nician].”

In fact, now that Beyonce is busy raising kids and off the road, Bibi is actually making more money than she was with Suga Mama.  Go figure!

15. Just play.  And play.  And play…

Bibi says that playing just a half-hour a day is a great way to get started.  And the real learning comes from playing what you love.  “Learn your favorite song,” Bibi advised.  Or, all of them!

Indeed, Bibi McGill grew up playing — and learning — from a wide range of musicians like Randy Rhoads, Fleetwood Mac, The Eagles, Michael Jackson, and B.B. King.  These days, Bibi sometimes practices 14+ hours in rehearsals.

But who’s counting the hours?

16. There are no rules to success — except this last one.

Bibi made it clear that these aren’t ‘rules for success’.  It’s just a bunch of stuff that works for her.  But she did end with one last piece of sage advice.  “Make sure that whatever it is you want to achieve isn’t just selfish,” Bibi said.  

“When you’re doing stuff that serves that highest good of everyone, you truly succeed.”