1. (a.) Because cover songs. Distributors deliver metadata to YouTube, PROs deliver to YouTube. Each party wants its share for a recording.
Here's a partial metadata sheet that PROs have provided for a popular MEGALOVANIA cover. Materia is the only display party.
1
1
1. (b.) bad actors. We have resolved 100+ cases of people reuploading original UNDERTALE music as theirs. That metadata stays in the system, and takes years to purge.
1
1
2. Materia Music Publishing only collects music publishing (sync/perf/mech/lyric) on YouTube. These are royalties exclusively allocated to composition rights holders. (cont'd)
1
1
2. (con'td) Between Art Tracks, sound recording claims, and monetized uploads (for unlicensed/non-claimed/unmanaged copyrights), recording artists have variety of ways to collect sound recording shares via distributors and MCNs.
1
1
To put 7 years of numbers into perspective, from the label/sound recording side: YouTube is less than 7% of our revenue. Spotify continues to lead the streaming wars.
1
2
i'm hoping at some point that you explain how a lot of what you mentioned is for *sound recordings* & is therefore not relevant to music compositions.
e.g., i'm not sampling richaad. I just want to share revenue w/ toby for doing a separate cover of megan lovania.
1
2
It's for ... both; an entangled mess more jumbled than the source code for VVVVVV. (with love @/terrycavanagh)
Due to the Indie Game Composer Exception, YouTube doesn't know first uses, so YouTube uses popular covers to find melodies in uploads, and matches those.
1
1
so, again, this is indirect. Are you saying that when YouTube matches composition for megalovania, it is not recognizing "Oh, this is toby fox's" but is saying "this is [the first guy who did a cover and submitted it to a disreputable distributor for content ID submission]"
1
We wish we know more about how YouTube prioritizes and aggregates melody matches. Likely an Amalgam of spectral analysis, AI, and mapreducing big data
1
1