Jay Peach Productions

Been seeing an upturn of streams on a couple of sites, namely Apple Music and SoundCloud. Both have upturns of 20% or more. And I’m waiting to see (from DistroKid, my distributor) whether the information gleaned from Songstats in relation to numbers from Beatport actually turn into money in my pocket. I think the positive numbers from Beatport was from activity in April or May. If it was April, I should start seeing data from DistroKid this month or August.

I recently found a source of samples and stuff at a site called Vstalarm. However their funky site doesn’t allow me to download the samples I purchased. It’s been two weeks in a back and forth with Edgar of the site trying to get access to my samples. Sign me, getting annoyed.

This is the latest graph of YouTube plays. As you can see, a number of times, YouTube takes plays away from me on a regular basis. It’s become more frequent lately and the plays taken away total about 75 plays this past month. It’s bad enough that they don’t have any promotion, but to steal views from artists shows that artists need to ban together to force DSPs to be audited.

Well, here it is 23:45 and I still haven’t been able to complete the update of Izotope’s plugins. I started this process at approximately 19:30. I need to figure out which of the 10 updates or installs I really need, as a number of them are for outdated software or superceded software. It didn’t help that one piece of software, Ozone 11, took an hour and a half to install. And it appears that software is 11 Standard, when I have a license for 11 Advanced. When the shitty Izotope Portal finally refreshes, since I wasted the whole evening waiting on the Portal as the update process needs constant babysitting,

I might as well try to update my Fabfilter plugins as there’s an update to all 10-12 plugins. The update file for all plugins add up to a massive 264 meg, which I hope will be easier than Izotope’s severely broken update process.

Update: well the Fabfilter update of the full bundle took roughly 10 minutes; in the meantime Izotope’s Portal still hasn’t refreshed, so I can’t do anymore updates. Gonna try to reboot the computer to see if that clears up the logjam.

In the meantime, I highly recommend you stay away from Izotope products. Shitty support.

Spotify continues to have trolls spreading disinformation about their payouts to artists. The 10-K, a financial statement they have to file with the SEC clearly states Spotify pays out 62% of revenues to artists. And clearly their payout has dropped from $.0032 to $.0027. What part of reality don’t you assholes understand? What’s even worse is the demonstrable fact that four years ago the payout was $.0043 per stream.

You trolls must have flunked simple math and gotten an A+ in Marketing for Sleezeballs. You’re no more capable of understanding reality than is Donald Trump.

And I got an email from UMAW saying that they’re trying to introduce legislation that requires streaming platforms to pay at least a penny per stream. That would affect bottom feeders like Spotify, Apple Music and SoundCloud. And would finally give some money to the artists that deserve to be fairly compensated. After all, most companies are multi-billion dollar operations. Show your support of UMAW at weareumaw.org

Well, I just dropped two new songs, Symbiosis and Brazil Deep Phonk. They’re already available on SoundCloud, and due to drop on most major streaming platforms on June 12. Yeah, that’s aways away, but platforms like Spotify require lead times of up to a month so that their curators have time to check your work out and prepare your songs for Release Radar and similar offerings. Not that the pay to play platform Spotify makes any effort to promote your music unless you pay for the privilege. Anyways check out my linktree at linktr.ee/jaypeach53 for distrokid’s presave pages. Every click you make to presave the song helps me immeasurably, so thank you.

As you can see, Hostinger’s performance is less than stellar. One could hope that it shouldn’t take 5 seconds to display a web page, though as least the page is relatively bug-free after the paint.

Hostinger woes continue, as trying to use the web interface on an iPhone is still a pain, with scrolling down to fill a post is impossible. This action is even worse than it was a few weeks ago. Scrolling used to be hit or miss, but now it’s totally broken.

Got this bummer of a message

Dear Songwhip subscriber,

We’ve been proud to help you market your music online and grow your audience over the last three years. Today we’re announcing that Songwhip’s subscription and free services will be ending effective July 22, 2024.

We want to thank you for choosing Songwhip, and for being part of our mission to connect fans around the world to the great releases from our vibrant community of music creators.

We know this change may affect you and we’re here to help with the transition. Below you’ll find answers to questions about next steps and what it means for your Songwhip pages and links. 

We appreciate your cooperation and wish you much success in your continuing music journey.

The Songwhip Team

I just find, that even though I like my Roland gear, that the workflow is non-intuitive and functions that you want to use are buried in multiple keypresses that just make NO SENSE. I’m constantly having to refer the the manuals to get, in my regard, functions that shouldn’t be buried. Admittedly, the two devices the S-1 and the SP 404 Mk 2, have a smaller footprint than other devices I have, but usability doesn’t seem to be Roland’s forte.

Just one example of this is the preset save feature on the S-1. The save feature, on key 16, called “write”, takes a shift -write and then you have to press the 2 key, enter, whereas on most devices the save feature would be located near the play and record buttons instead of being spread all over the device.

I don’t have a problem with music takedowns. During the four years that I’ve been releasing music, I’ve only gotten 3-4 takedown notices from all distributors, as opposed to the 81 songs I’ve released. Most of them have been from SoundCloud, and they have a lousy algoritm for detecting copyright violations. But one thing that saves them is they do have a resolution mechanism for disputing copyright claims. Apple, on the other hand, has no dispute mechanism. This meanswith Apple, there’s no way to dispute their findings, and if Apple’s algoritm is as bad as that that discovery tool they’ve got, then they get a lot of false positives.