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Bailing on Spotify

Glad to see that there’s a growing number of artists that are bailing on Spotify. Here’s a article by one such artist: https://kaukolampi.space/spotify-2017-2025.

For me, the last straw was Spotify’s further foray into AI ‘artists’. And their reworking of the TOS to further shaft artists. Their ‘new’ product is like Discovery, basically making Spotify a pay to play platform. It might not be so bad if they weren’t the dominant streaming platform, with about 30% of the market, but Ek, like all techbros, isn’t satisfied with his dominant position. The only good news is that the other 70% of the industry isn’t as rapacious, at least yet.

I virtually stopped all promotion of my music on Spotify over a year ago, when they decided that 1,000 streams was the threashold that your music had to garner in a year before Spotify begain to pay artists. And Spotify’s payout is 1/3 less than the next worse platform, Apple Music. These are the numbers I get from my distributor, DistroKid.

And the payout that Spotify does deign to give has dropped precipitantly, falling from $.0043 in 2020 to the last numbers I got in 2024 of $.0027. These numbers include both paid and non-paid subscribers. And for non-paid subscribers, the four to five ads you have to put up with between songs garners what I’m guessing is making Spotify between $0.075 and $0.105 per song. This guess is figuring that Spotify charges about the same CPM as other social media companies charge.

1,000 streams doesn’t seem like a large number, but non-mainstream music isn’t promoted at all on Spotify, and Spotify’s threat to delist you if you use third-party promotion services, some of which use the same bots that big artists use to inflate their streaming numbers, is disengenuous to say the least. The 1,000 stream threashold is difficult to meet for non-major electronic musicians like myself. I know, some trolls will say you should create music that the great unwashed wants to listen to, but most artists are musicians first, businessmen second. And I create music that suits me, not some schmuck bean counter.

And the alternative, using Spotify’s promotion services, is obscenely uncompetitive. Promotion on Spotify, with no guarantee of payback, starts at $100 per promotion. At ridiculous amount to spend, considering that you would need to get almost 44,000 streams to break even. I’ve only had a dozen or so of the almost 100 releases reach or exceed that number. And the $100 spend doesn’t even guarantee you plays.

By the way, this article has undergone a number of revisions. You might like to check back to see if I’ve added more content or subscribe to my WordPress blog, if you like my content.

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Behringer Neutron

I have been playing with my Behringer Neutron, a semi-modular analog synth. It’s a great way to get into modular gear at a reasonable price point. It’s got 2 oscillators, an LFO and other good stuff. It’s even made to be mounted into a modular rig, if you so desire.

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New Album Release

Well, I finally released the album I started working on July of last year. It has 15 tracks and is in the genre of semi-experimental electronic music ans is titled “Electronica #1”. I know, not a very creative title. The linktree has a link to my distributor’s landing page for the album, at https://linktr.ee/jaypeach53.

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The Enshitification of Meta

It’s bad enough that Zuck had to bend over to kiss the feet of King Trump, but now InstaGram has ceased providing somewhat useful user stats for creators to guage whether posts and reels are getting decent engagement. Fuck you Zuck the Cuck.

I’ve already deleted Facebook and WhatsApp off my phone, known data mining apps. And I have relegated InstaGram to a barely used app. Meta is now relegated to my schmuck company bin, along with the increasingly evil Google. Never let an Indian run your company.

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Spotify Errs Again

Spotify errs again, being that they’re again late for the party. Last year they announced that they were going to penalize artists that got their streams from bad actors. But they were complicit in those fake streams, because Spotify was monetizing those fake streams. And there was no way artists could identify those bad actors.

Well Spotify is finally putting a bandage on that despicable oversight. They announced a half-assed solution. Instead of creating processes to weed out spam user accounts, they slap up a web page where artists can report bad actors.

I suppose this is a better solution than not doing anything at all; like they’ve done for the past year. But they probably don’t have a procedure to actually do something about the reports they’re about to receive. The bottom line is Spotify is benefiting financially from the current fucked up mess they’ve created.

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Still Working On New Electronica Album

Ho-hum, I know I’ve been in a creative desert with the latest electronica album. For one thing, it has no name, but more troubling is the inability to get the sound I’m looking for. Trying to make it a DAW-less creation has been a major logjam.

In the DAW, I have access to dozens and dozens of plugins to craft the sound, whereas I only have 15-20 effects pedals to choose from. Though those pedals cover a large portion of treatments to the sound I’m trying to make.

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Moog Mother-32 and Mavis

I’ve been playing with the Mother-32 and Mavis. Dug out the manuals and will go digging on YouTube to see if there’s any useful videos there. The Mother-32 manual has presets in the back of the manual for a start if your’re stuck as a beginner, but they’re a bit lame.

The one thing about the Moog gear, when there’s a firmware update, you need to remember if your gear has it installed, as there’s no way to check which version is installed. I supposed you can review the manual addendum to see if the added features exist on your gear, but, for the money you pay for the Moog name, there should have been a more user-friendly system in place. And with the Mother-32, the update process id a bit convoluted.