it feels like it’d be censored immediately or you’d be sabotaged nowadays if you try it, i also am barely seeing any huge anti trump songs compared to his first term despite him being way more unpopular

Hello, at 5 in the morning I uploaded my EP to distrokid and 5 hours later I had received the email that everything was successfully processed. But then I listened again and for two songs I thought the vocals were too loud so I deleted my upload and currently want to re upload everything again. Google says to use the ISRC codes, but I didn’t check to see what they were. And the EP doesn’t show up in ‘My music’. So can I assume I haven’t received them yet, the previous upload is deleted and I can just upload the updated version with no issue?

I need it for my lawyer. And on the internet its all kind of different information… i need a reliable source. Thanks guys

A thought just occurred to me.

In the age of social media, where success is more based on personality & social media presence, many great musicians I listen to regularly have low views & likes, but that doesn't detract from the quality of their work for me.

I felt like asking generally what industry people think about how well the industry and tools work to help music of all kinds to be exposed to & discovered by audiences (not necessarily by the industry) would be quite interesting.

I can't help but to think that reclusive personalities like Jeff Buckley & Prince, Abrasive & unfiltered personalities like Miles Davis & Rick James, camera shy artists of all kinds, and many other artists (that don't do interviews much) would never make it from scratch (without funding) in this current music industry environment?

I've been working with a very unprofessional producer and I want to stop working with him. We have a number of unfinished projects. What's the legality of asking for my stems from the projects we have done together so far if they are my songs and he has done a bit over them.

Alright so I’m a really small artist like literally less than 50 listeners and I got a message from an account on SoundCloud right after I dropped my most recent single and it was the whole thing of claiming to be A&R and wanting to sign me, and look usually I spot these things immediately and know it’s fake, but for the first time they asked for my phone number, and after talking for a bit they don’t want a single penny from me but to get info from me such as my hometown, marital status, a photo of me, age and name ETC and I know these are things a legit label would ask but I don’t know man I’ve grew up on the internet for so long I’ve seen how important online privacy is and I really don’t wanna give all this info to someone malicious, so if anyone has any experience with them or getting signed in general I would highly appreciate it!

Looking for music industry peeps to interview for research project.

Hi all, I'm a college student based in NYC and I am looking to interview people in the industry, ideally independent artists and labels. I am writing a research paper on how music streaming platforms have affected the industry. I am focusing on how/if the streaming platforms have changed the power dynamics with labels and artists. Also, what effects it has on artists, especially unsigned ones.

If anyone is willing to answer some questions it would only take about 15 minutes. I would be very grateful. All interviews would remain confidential.

Thanks!

Thank you for taking the time to read my post! My name is Mateo and I am a senior student at Adams City High School in Commerce City, Colorado. For my senior English class, we are required to do a Senior Capstone Project. My project is about being a studio or touring muscian and my topic is related to the history and evolution of alternative music.

I would like to interview someone in the profession who has some experience with this topic.
I would like to be able to quote you in my research, so I would need to have your professional information.  If you are willing to help me with my research by answering 10 questions, please reach out to me.

I can email you the questions, or I also have my dms open and I can just ask you the questions though that.

Thank you for your time!

Sincerely,
Mateo

The current situation with AI music platforms like Suno is untenable, and everyone knows it.

Users are generating full tracks powered by training data that includes decades of real artists' work. Labels and artists aren't compensated. Platforms operate in legal grey zones. And the loudest positions on both sides "ban it all" vs. "information wants to be free" aren't going anywhere constructive.

Here's a structured framework that could actually work for both sides.

The core idea: a tiered copyright buyout system

Rather than treating all AI-generated music the same, classify tracks based on originality:

• Copy (blocked): Outputs too derivative of identifiable artists/styles → personal use only, no commercial pathway
• Derivative Work: Inspired by existing music but structurally distinct → user can purchase rights through a buyout fee
• Original Work: Clearly unique and user-directed → full ownership pathway with minimal friction

This mirrors how copyright law already thinks about derivative works it just formalizes it for AI outputs.

The revenue model

For any track that enters commercial use:

• 70% → artists and rights holders (distributed via existing label structures)
• 30% → the user who directed the creation

The buyout fee (to convert a generated track into a licensed asset) is also split between the platform and rights holders.

Why this works for the industry

Artists get ongoing compensation. Not a one-time settlement, not a lump-sum licensing deal actual passive income tied to tracks their influence shaped. This doesn't require dismantling existing label structures; it routes through them.

Labels get a legitimate seat at the table. Instead of litigating platforms into the ground (with uncertain outcomes), this creates a system where the industry is structurally embedded in the AI music economy.

The 70/30 split reflects reality. Typing prompts into Suno isn't the same as mastering an instrument, training your voice, or learning production. That's not an insult to AI users it's just honest. The split acknowledges what each party actually contributed.

The alternative is worse

If this kind of framework doesn't emerge through regulation, industry negotiation, or platform initiative the likely outcomes are:

1. Continued litigation that drags on for years with no clear winner
2. Platforms operating offshore or in jurisdictions that don't enforce copyright
3. A black market for AI music that compensates nobody

A structured system isn't a concession. It's the version of this future where the industry has leverage and income.

Open question for the industry side:

What would a fair licensing framework actually need to look like for labels and artists to accept it? Is 70% enough? Does the classification system make sense? And critically who administers it?

Would genuinely value perspectives from people closer to the legal and licensing side of this.

I started Symphonic back in 2006 as an independent artist, trying to figure out how to get my music out into the world without a label. Since then, we’ve grown into a global music distribution and services company working with artists, labels, and managers at every stage of their careers.

Over the years, I’ve been hands-on building teams across distribution, YouTube monetization, publishing administration, and sync licensing — and have seen firsthand how the industry has evolved (and keeps evolving) for independent artists.

Happy to talk about building a sustainable career in today’s music industry, thinking long-term about ownership and growth, global opportunities, or where things are headed with distribution, tech, and the independent space overall.

I’ll be here from 3pm–6pm ET answering as many questions as I can.

Ask me anything.

A while back I posted here asking about releasing a debut metal record as an unknown act (that thread). The advice I got pushed me to go fully independent - no label shopping, no waiting, just release and build. So that's what I did.

Running a two-piece prog/post-metal project ("betweener", based in Kraków). Two singles out now, debut album planned for late 2026. Full DIY - writing, production, mixing, visuals, promo.

Here's where things stand after the second single (5 days since release):

YouTube:

• 123 views, 6.8 hours watch time, 66% audience retention
• Traffic sources: ~32% from Browse features + Suggested videos (algorithm-driven), ~23% external, ~27% channel pages
• 189% more views and 336% more watch time vs previous 28 days
• 29 subscribers

Spotify:

• 13 streams, 8 listeners, 2 saves, 0 playlist adds
• Basically just friends and people I drove there myself

Other streaming platforms (Apple Music, Deezer, etc.):

• Scattered single-digit plays, all from friends :D

Bandcamp:

• Dead unless I send traffic directly

Instagram ads:

• Ran a small campaign targeting a few European countries, but at this volume the data is basically noise - impossible to draw any real conclusions about what's working

So YouTube is the only platform showing organic discovery. The algorithm is picking it up, retention is solid, but the numbers are still tiny.

My questions:

1. For a niche heavy genre like this - is it worth investing energy into Spotify/playlist strategy at this stage, or should I go all-in on YouTube until there's a bigger base?
2. What's actually worked for you in getting micro-bloggers/curators to cover new, unknown projects in heavy music?
3. Any experience with YouTube Shorts as a funnel for full-length tracks in metal/heavy genres?

Appreciate any real-world experience from this sub - it helped me commit to the DIY path in the first place.

I got accepted into all three schools but I am having trouble coming to a decision. The issue is I got accepted for different programs and I'm not sure if they are aligned with my goals. Umiami -> MADE Berklee-> MP&E USC -> Popular Music Performance. I am an experienced pop vocalist and have some production background. I am interested in a school that allows for both pathways (performance and production). If I HAD to narrow it down to one major, I would prefer production. After school, I want to travel to South Korea to work in the music industry over there. I am trying my best to do my research on each school, but it's a lot of mixed reviews... pls give me ur honest opinions/experiences/advice.

Let's say money isn't an issue then:
Which school would give me the best education? Which would offer the most opportunities? Networking to sk? Overall vibe? Quality of professors?

I used to think Berklee was the best music school in the nation, but I have been hearing it has fallen off over the past couple of years.

I haven't seen too much info on the MADE program.

At USC, is it possible to do both performance and production?

Hey guys, I'm doing some research about songwriters at the moment and figured what you'd think to this question? I make and release music myself so it'd be interesting to hear your responses

Hey ya'll I was blessed yesterday morning when I checked my dsp to find that I received over double my typical cash from net ease of all places. After checking the stats it seems one of my songs from 2 year ago had surge in popularity last month over there. Don't know how, or why but people are listening!

Only issue, I'm in Nashville hahaha... anyways I don't know how to even access these listeners right now.

TL:DR Half my fanbase is now in China as of last month and I don't know what to do.

Long story short I've been in the industry for a decade. Got lucky around 21, was DJing, toured, producing for artists (no one super noticeable), sync. Those were the mains.

Anyways a lot has changed and I'm now in my thirties.

Everyone knows how choppy this industry is. I can have a good month in March $$$ wise from monthly royalty payments, quarterly comes in same time and any beat leases I made (Was around 3,000USD, which is good for me, I'm not based in the USA fwiw)

Then in April so far I've made 50USD lol. Although towards the end of the month is when the monthly royalties come in and they currently float around 1,200USD but they are decreasing by the month as the songs are old and not popular. Saying that though I could suddenly make a couple hundred or a grand at any point from beat leases infact I have someone trying to get a bundle now which will end up to around 200USD. Basically there's never a set number on income each month.

Anyways, my post is about seeking part time jobs in the music world, online. Or even just online in general something I can learn to do or can do no problem just got to dedicate time to it whilst working.

Money gives me stress as I don't have any family money to fall back on but I don't want to give up my music dreams. I haven't tried hard enough in recent years but I'm about to as I've just gone cold turkey sober.

Does anyone know of anything like this?

Since the feds settled I thought this case was likely over, but the states moving forward and winning is an unexpected win for independents out there competing. We’ll see what the ruling actually does in the long run.

Hello! My partner is a producer in the UK and is having a really hard time right now. He works extremely hard every single day doing sessions with different artists, but hasn't had any cuts in the last 5 months. He's in his early 30s, and the ups and downs of this industry are really starting to take their toll because he'll get a decent cut and then nothing for months and months, barely surviving and pretty much working for free.

He spoke to his managers, and they said this is an industry-wide problem. Apparently, there is no such thing as the middleman now; you're either an extremely successful producer or you're a producer making no money. Most big artists work with the same producers and rarely introduce new ones. I wanted to know if this is true or if the managers just aren't doing enough for him.

I just wanted to get some more opinions on this. Are there any producers in here that feel the same? Has it changed now due to things like Suno / AI platforms or are labels just less inclined to bring in new, more fresh producers?

Thanks guys!