But I direct people first to Spotify, Apple Music, or wherever, because I make stuff because I want people to listen to it." "I still release music on Bandcamp where people can purchase it outright, and I raise money through Patreon. "Nobody buys content any more," Mr Endrey said. This means there's a demand for the digital aggregators.Ĭhris Endrey is an independent Australian artist who's used digital aggregators to get his music onto music streaming services.Įven though streaming revenue is notoriously low, Mr Endrey thinks there's a value in making music easily accessible. Mr Irvine said that as improvements in technology have made it cheaper and easier to produce and distribute music, artists are eschewing traditional label deals and staying independent. Then we have our own deals with many services around the world," he said. Major labels have their own deals with streaming services. "Streaming companies don't want to deal with over a million artists, they prefer to deal with a few companies. He said while platforms, such as Spotify, have trialled allowing artists to upload their music directly, the streaming services prefer the simplicity of dealing with distributors. ( Supplied: Martin Ollman)Īndy Irvine is the CEO of an Australian digital aggregator, GYROstream. These companies offer a range of services, but their main gig is getting music on streaming services after the artist has made it.Ĭhris Endrey is an independent artist who's used digital aggregators to get his music onto streaming services.
The new kids on the block are the digital aggregators. Most record companies have made their artists' back catalogues available for streaming - although there are exceptions like The Tenant's Australian pub rock classic You Shit Me To Tears - but independent artists would have to go through a digital aggregator to make it available. Then there's the music that was released before streaming was invented. Other popular artists like Aaliyah or De La Soul still haven't licensed their back catalogues to the streaming services. Swift, like the others, eventually relented and released her music to the streaming services in 2017. Taylor Swift notably pulled her music off streaming services in 2014 over how much artists were paid, joining other holdouts like the Beatles, Prince and Tool. Since the inception of music streaming, distribution has expanded to include delivering music digitally via streaming platforms.īut some major artists with record deals haven't always given permission for their music to be streamed. The model is, generally, that artists sign to a label who assist in the production, promotion and distribution of music. Record companies (or record labels) have long been the dominant form of mainstream music distribution.
So there are two major ways of getting your music onto a streaming platform: by agreeing to distribute your music with either record companies or digital aggregators. Streaming services don't tend to deal with artists directly. It comes down to the choices artists make when they want to get their music out to the world. More and more Australians are using online streaming services to listen to music.
So what determines which songs make it onto streaming services in Australia? How music makes its way online Other times the song will only be available on a competing service. Sometimes songs will suddenly disappear from the service. Using any of the paid services in Australia - Spotify, Apple Music, Amazon Music Unlimited, YouTube Music, Tidal, just to name a few - will give you access to an enormous library of music from all genres, locations and eras.īut occasionally, your search for an old favourite or a popular song will come up empty. The number of Australians using streaming services to listen to music is growing, with more than 80 per cent of Australian musicians' recorded revenue now coming from streaming. It was one of those mildly annoying things that makes you think about how things work.
#Are daft punk songs copyrighted software#
The software company co-founder had tried searching his online music streaming platform of choice for the moderately well-received album scored by French electro duo Daft Punk.īut the album was greyed out and unavailable to play in Australia. All Dan Nolan wanted was to listen to the soundtrack of the 2010 film Tron: Legacy.
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