You're right, and, there's value in partners. Some are better than others. Few platforms work with individuals directly, and getting 50% of something is better than 100% of nothing -- which most of the entertainment industry does.

And look, there's few subject matter experts on YouTube/CID, much less publishing, much less overlap with gameaudio. If you have ideas on how to improve the ecosystem, based on where it currently is, and CAN go, let's chat. We need more motivated people working on a future.

The room is adults working on improving transparency and education surrounding concurrency colliding with legacy music laws based on this thing, en.m.wikipedia.org/wiki/Pian… , which never anticipated things like "Justin tv" and "the internet"

You either die a hero, or something something, unsure how that quote goes.

And even to us, some doors are sealed, pathways are blocked; hands tied and lips sealed far beyond what we wish.

We... are in the game industry, after. And you're right, we are not - the mention was to level the, rather negligent, baseline. We are one of perhaps, 5, worldwide music companies who manage video game music publishing copyrights.

To clarify, this is not an option that is enabled for most rights holders. Most rights holders do not have direct YouTube CID access. Most rights holders don't know why they need YouTube CID access. Most rights holders do not care.

And yet, whether or not it's distributors submitting metadata to societies (or via MLC's fantastic new DURP process), metadata *exists* and competent rightsholders ensure they are collecting what is theirs. Even ignoring bad actors, the amount of bad metadata is astronomical.

Crushed...? Our team is literally responsible for the advent of legal vgm monetization and DIY cover song licensing. YouTube is <7% of sound recording revenue. And the idea that 100% of revenue of an unlicensed cover song sound go exclusively to the recording artist is absurd.

Four things: 1. We have dealt with over 100 bad actors doing this for content we own/administrate. 2. Yes, this is how you license your content to platforms.

Any artist is welcome to manage, register, and collect their *sound recording* copyrights on YouTube and other platforms. We do this for the hundreds of releases we own and manage -- and we highly recommend that other artists work with their MCN/distributor to do the same.

The technicalities and nuances and legacy laws are unfortunately what power the music industry. It can be complex and confusing. Materia is licensing and collecting the music publishing share of this cover, as we do on hundreds of other platforms, and have done for years.

Yeah, 2021 was difficult for many, our team included. And we learned, and grew, and improved; and it's our hope that gameaudio remains an environment that embraces failure so that we can grow together. We know it isn't for some, and we accept that.

👁️👁️👁️

We're still here, still advocating. Big boats turn slowly.

We wish we know more about how YouTube prioritizes and aggregates melody matches. Likely an Amalgam of spectral analysis, AI, and mapreducing big data