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Google Set to Launch Streaming-Music Service as Early as This Week: Report

Internet-search giant Google is set to launch a Spotify-style streaming-music service and it could happen as early as this week, Dow Jones Newswires reported.

Google has signed deals with three major music labels and the launch of the subscription-based service could happen as early as this week, according to the report.

What’s Google stock doing now? Click here for the latest after-hours quote.

    • #Google
    • #Spotify
    • #Pandora
    • #Streaming
    • #Music Streaming
    • #Music Industry
    • #Online Music
    • #Internet Streaming
    • #Music Discovery
    • #CNBC
  • 1 week ago
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SHAZAM Boosts Digital Music Sales By $300M

Shazam generates $300 million in music download sales evey year, according to stats from the company.

The discovery platform claims to have lead users to digital music downloads via the likes of Amazon and iTunes, directly linked to its song recognitions activity.

There are likely to be knock-on effects in physical and online sales that are not directly trackable too, Digital Music Newsreports, according to a Shazam presentation.

Comparing the $300 million figure to IFPI worldwide download statistics, Digital Music News estimated that Shazam is responsible for 1 in 14 paid downloads - a 7.2 percentage of the $4.117 billion global figure.

David Jones, Shazam executive vice president revealed that sales figures are doubling every year: “That’s growing triple digits, so it’s going to be double that every year.

“It’s certainly been double over the last several years,” said Jones.

    • #Shazam
    • #Music Industry
    • #Music Sales
    • #Digital Music
    • #Music Discovery
    • #Music Streaming
    • #Mobile App
  • 1 week ago
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Are you following us on Twitter?

Make sure you are staying connected to for music news and updates, music submission requests, and Industry tips from an Independent Music Publisher’s perspective!

The latest from TransitionMusicCorp (@TransitionMusic). TMC builds music solutions for TV stations/networks/prod.co’s/ad agencies. 110,000+ performances in film, TV, commercials, games & web in 2012. Los Angeles

    • #Twitter
    • #Music
    • #Music Supervision
    • #Music Licensing
    • #Transition Music
    • #Musicians
    • #Musician Network
    • #Music Opportunities
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  • 2 weeks ago
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EQuala joins the social music app market, but brings a little something new to the table

equala

Most of us wouldn’t want our Facebook friends solely responsible for our workout mixes or birthday party tracks. However if you happen to be friends with those in the music know, then you might make a case for using an app like EQuala.

If your friends are using a Facebook-connected music streaming player like Spotify or Rdio, Equala pulls this data from Facebook to feed you, the listener, a selection of music that your friends are enjoying. Sure, there’s some risk – but if you’re desperate for some new tunes, it could be just the ticket. 

Listening to music

Unlike apps like Twitter #Music and Piki that only allow you to listen to samples for free, EQuala’s CEO Lior Aharoni says the company works with SoundExchange, holds a contract with Media Net (to have access to over 24 million songs), and operates under the DMCA Radio License so you don’t need Spotify, Rdio, or other music players to play music for free through EQuala. Of course what this means is that you can’t actually select the music you want to listen to, and as expected you get a limited number of skips per hour – six to be exact. If you want to listen to specific tracks, you’ll have to fall back on the conventional music streaming services.

As for the listening experience itself, sometimes you’ll find a track that’s worth listening to beginning-to-end but many times you’ll find tracks you’ll skip over instantly. EQuala pulls everything your friends have listened to and algorithmically figures out how much of a match their music listening habits are to yours to signal who’s worth following and who isn’t. So what you listen to in your music player really all depends on who you choose to follow – which certainly seems more productive than Spotify’s Follow function, a seemingly random suggestion list.

Regardless, I ended up skipping songs rather frequently from my very friends that EQuala recommended highly. This however may change over time as I get a better sense of what types of people I want to follow on EQuala.

Yes, there are ads

equala ad

You will have to put up with ads if you want to use EQuala. Every five songs, an ad pops up; they last for 20 seconds or less – a fair trade for free music, really.

You can also pay for a premium subscription to remove the ads altogether.

Your music DNA

equala my profile

From the start, EQuala presents you with a list of users and a percentage to indicate how much their taste in music matches yours. The algorithm revolves around a “Music DNA” – an analysis of a user’s music listening habits. From there you can choose who to follow and who not to follow.

Remember that since you’ve connected your account to Facebook, EQuala knows what you’ve listened to as well, and the app uses that as a benchmark to figure out your Music DNA.

For example if you take a look at my Music DNA, you’ll find that I listen to Rap and Hip Hop 82 percent of the time, Alternative and Indie 13 percent of the time, and Rock 3 percent of the time. What EQuala does to get a better sense of your music taste isn’t too different from what Pandora does, but EQuala’s strategy is far simpler, more transparent, and powered by your social network.

If you want to find out what you’ve listened to in the past you can check out your profile by tapping on “My Profile.”

How accurate is EQuala’s matching algorithm?

Though I was skipping quite a few songs, EQuala says that this and other factors will actually help the services matching algorithm do its work. “By interacting with less than 20 songs, the system’s matching accuracy is lower because it has a less comprehensive understanding of the users’ listening habits,” says Aharoni.

equala music search

There’s also a function called “shouting.” Shouting songs is kind of like you’re tweeting your favorite songs. You can search for certain tracks or artists by tapping on “Music Search.” By shouting selected tracks you’re adding the track to your profile so that your followers will be able to listen to those shouted tracks in their music stream. Unfortunately this doesn’t mean that you can listen to your own shouts.

If you’ve taken to EQuala after first use, it might be worth sitting down and shouting your favorite 20 tracks to give EQuala more data to work with and to better recommend other users to you.

“Adding” Music

equala adding music

Of course you’ll need to do your own part to improve your music listening experience. It’s up to you to follow the right people since they’ll end up being your DJs.

There are two ways to find people to follow. You can follow your friends through “People Search,” or follow other users through one of its people discovery features called “Popular.”

“Popular” has some UX shortcomings. The page is filled with a list of a user’s profile pictures, names, and their number of followers. But there’s no indication of what these people listen to and how relevant they are to me so it’s almost as if I’m expected to know what these users’s musical taste is off the bat.

But with a little extra legwork, you can click through to each user’s profile and find their Music DNA. EQuala could do far better if it incorporated genre-based “radio” stations instead of forcing users to follow other people, but we’ll have to wait for that.

Here’s the thing about EQuala and social listening: It’s not perfect. After browsing through my friend’s music, even those who were an 80+ percent match had surprisingly different music tastes than I did. 

equala equalizer

Since this is a problem, one that EQuala I suspect is well aware of, the app comes with a nifty little feature called the “Equalizer.” The app allows you to select how much or how little of each user’s music taste you’d want surfacing. Say you’ve found someone you musically relate to; just slide their Equalizer to the far right so you’ll hear more from them. Slide them to the left, and you’ll hear less. It’s easily one of the distinguishing features that sets EQuala apart from other apps. 

EQuala may be great for music discovery

There are a crop of apps like EQuala, and it remains to be seen whether there’s a market for these types of radio, music discovery apps or if they should just exist as features to the larger players like Spotify, Pandora, Rdio, and the like. I can see how an app like EQuala might be embraced; you can source new music from friends that have a very similar taste in music as your own, at least theoretically. Unfortunately this isn’t necessarily true in practice. EQuala alone isn’t to blame; apps like Piki and even Twitter #Music have their flaws. Even though I do end up discovering new music, I find myself skipping tracks quite frequently – and there’s the trade off you have to be willing to make. 

    • #Equala
    • #Spotify
    • #Facebook
    • #Social Media
    • #Twitter
    • #Sound Exchange
    • #Music News
    • #Tech News
    • #Rdio
    • #Radio
    • #Music Streaming
    • #Music Discovery
  • 2 weeks ago
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Spotify Takes a Page From the Twitter Playbook, Buys Music Discovery App Tunigo

Spotify Takes a Page From the Twitter Playbook, Buys Music Discovery App Tunigo

tunigo cardioLast fall, Twitter bought We Are Hunted, a “music discovery” startup that made a popular app for Spotify.

Apparently Spotify is paying attention: It just bought Tunigo, another music discovery startup with a popular Spotify app.

Spotify isn’t announcing terms for the deal, but says that all of the Swedish company’s 20 or so employees will come to work at Spotify’s offices in Stockholm and New York.

The Tunigo Spotify app will keep running (there’s also an iPhone app), but presumably Spotify’s new hires will be put to work on Spotify’s main service, which has 24 million users and six million paying subscribers. Tunigo had reportedly raised $3 million.

The We Are Hunted and Tunigo deals aren’t exactly parallel, since Twitter used We Are Hunted to build a brand-new music app, and Spotify doesn’t need one of those. But they do show that digital music companies are putting a renewed emphasis on helping people find stuff they like — which has the obvious benefit of keeping them on the service longer, and/or convincing them to pay for them.

Internet radio service Pandora has always been about discovery, but lots of other services have been content to assemble millions of tracks and ask listeners to poke through them on their own, or to ask their friends for recommendations.

Now lots of companies are starting to emphasize curation. That’s the entire point of Jimmy Iovine’s new Beats/Daisy music service, scheduled for launch later this year. And if Apple is able to hammer out deals with music labels — last I heard, they’re still stuck haggling with Sony Music and Sony/ATV, its related-but-separate publishing company — it will launch an iRadio service that combines elements of both Pandora and on-demand services.

If you have a Spotify subscription and haven’t played with Tunigo, by the way, it’s worth checking out: Like Web radio service Songza, it is focused on mood- and theme-based playlists, and it’s pretty good.

    • #Spotify
    • #Tunigo
    • #Music Discovery
    • #Music App
    • #Tech news
    • #Music News
    • #Songza
    • #app
  • 2 weeks ago
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TMC MAY NEWSLETTER 2013. FELIZ CINCO DE MAYO!


 

SHOULD YOU BE ABLE TO EASILY RESELL YOUR DIGITAL MUSIC, GAMES, MOVIES, AND APPS? THE FOUNDERS OF REDIGI SAYS SO. A U.S. DISTRICT COURT JUDGE IN MANHATTAN DISAGREES.

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Our take on the drama surrounding ReDigi:
And we take a closer peek at the body of the dying monopoly called the “Record” Industry. When will they learn, you can’t put toothpaste back in the tube…it’s been how long since “Napster”? That said, no I am not ready to jump on the Redigi bandwagon just yet. I think the model - in its current form - Read the rest on our BLOG

Artists of the Month
The Morgan Twins, Kait Weston

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Rhian and Cara Morgan are Identical twins with a passion for singing and performing together.  They were recently featured on NBC’s The Voice, turning all 4 coaches chairs!  Kait Weston who sings cover versions of her favorite pop radio hits on her YouTube Channel has earnedmillions of views and an invitation to appear on Ellen.

These great artists come together on “Ms. Monroe”, an infectious, fun and energetic electronic dance song great for shows like Fashion Star, and America’s Next Top Model.  Be fair warned: you will have this tune stuck in your head the rest of the day!

Listen to Ms. Monroe  Featured on the TMC Homepage!

May 5-8     
A&R Worldwide’s MuseExpo
Hollywood CA
May 6-7
Digitalmusic.org’s Music Industry Metadata Summit
Los Angeles, CA
May 16   
Music Licensing: A Brave New World
AIMP
Beverly Hills CA  
May 21         
NY Pitch Session Part 2 
New York, NY
June 6-9
2013 CMA Music Festival
Country Music Association
Nashville, TN
 

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PUT ON YOUR PARTY SOMBREROS!
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Cinco De Mayo is just around the corner! Don’t let the big celebration arrive without your Fiesta Party Playlist!

Click HERE to download your playlist & visit Transition Music’s library for more fiesta inspired music!
 
 
IN THE NEWS
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BET has announced that they have picked up ESTV’s new family sitcoms The First Family and Mr. Box Office.   Congrats to all of our composers who have contributed music to these shows!
 
Did You See This?
Music and Tecnology News

“Music fans love knowing about bands that no one else has heard of, so we sent a camera crew to Coachella and we asked people walking into the venue what they thought about a bunch of bands whose names we made up” -                                            Jimmy Kimmel


A Decade of iTunes Singles Saved the Music Industry

Animated Pie Chart…40 years of Music Industry Change

AOL Music is Shutting Down


DreamWorks Paying $33 Million for YouTube’s AwesomenessTV Channel

Daily Mail in a ‘Ding Dong’ Over This Weekend’s Radio 1 Chart Show

I’ve Changed My Mind: After Using ‘Google Glass’ a Second Time, I’m Blown Away


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Copyright © 2013 Transition Music Corporation, All rights reserved.

    • #The Voice
    • #Morgan Twins
    • #Cinco De Mayo
    • #NBC
    • #Redigi
    • #Music Publishing
    • #In The News
    • #Jimmy Kimmel
    • #BET
    • #Digital Music
    • #Soundcloud
    • #Transition Music
    • #TMC
  • 3 weeks ago
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Seven Ways iTunes Changed the Music Industry

In less than 10 years, iTunes has become so embedded in people’s everyday lives that it has all but disappeared into the overall fabric of our digital commerce.

It’s hard to remember a time when selling a song by itself for $3.49 was an option, which it was, at least as a proposal, before iTunes came along. Or when people had to buy an entire album in order to get that one hit single.

For the industry, many business practices have become the norm – getting 70% of each sale, having proper invoices detailing exactly how many tracks have been sold and the ability to sell music on just about every device with a chip in it. What’s now taken for granted as standard operating procedures had to be carved through months of painful haggling, desperate handwringing and enough cursing to fill a thousand books.

Here are seven ways in which iTunes changed the landscape, in the words of the executives in the music business who played a part in making it happen.

1. iTunes created the first legitimate digital music store that competed effectively with piracy.

“Steve [Jobs] created something that made it so easy for people to buy music. He had a complete thought that went from iTunes to the iPod. It made complete sense, and it was something he felt people would be willing to pay for. In the end, he was right. It was all about having the right product.”

            Doug Morris, CEO of Sony Music Entertainment and former head of Universal Music Group


2. iTunes + iPod turned digital music into a fashion statement.

“Steve made digital music fashionable. The iPod white silhouette campaign was a perfect representation of that. He turned music into a fashion statement, a wearable fashion statement. He made it sexy.”

            Paul Vidich, angel investor and former head of digital at Warner Music Group


3. Digital music became ubiquitous through the combination of iPods and iTunes.

“Apple made music ubiquitous in a way it never was before. And they set music free from large PCs. Earlier MP3 players did that, too, but not like this. That ubiquitousness has driven a consumption of music that is unparalleled in the history of the world.”

            Jeff Price, founder of TuneCore and co-founder of spinART Records


4. iTunes leveled the playing field for independent labels and artists.

“Apple was the great equalizer. With iTunes, it was a meritocracy. You couldn’t buy shelf space like you had to with all the other retailers. If you presented great music, iTunes would give you promotional space right alongside the major labels. They made it possible for independent labels and artists to compete with the majors.”

            Robb A. McDaniels, Founder & CEO of Isolation Network Inc. and INgrooves


5. The 99-cent download became a standard price.

Steve Jobs “said to us, ‘There’re two things you have to accept: 99 cents for every single song, and every song has to be sold as a single.’ And we went home and swallowed hard because that was tough for us to accept for us as a music industry…. If certain songs were really popular we should be able to set the price at whatever we thought was the right price as opposed to the $1 price. Steve said, ‘You know, you’ve got to keep it simple, you’ve got to keep it clean.’”

            Thomas Hesse, President, Corporate Development and New Businesses, Chief Digital Officer at Bertelsmann. He was Chief Strategy Officer for BMG Music Entertainment when the iTunes Music Store launched


 
6. The economics of the single rose in importance.

“Some people say Apple unbundled the album. In my mind, it had already been unbundled by piracy. So why not do it in a way in which we get paid? That’s what iTunes really did.”

            Doug Morris, CEO of Sony Music Entertainment

 7. Labels got paid faster – much faster.

 “Physical takes a lot of money to produce. There are a lot of headaches: shipping, tracking, breaking of CDs and vinyl. Back in 2003, … people were still buying CDs. But to get paid on CDs was difficult. There was always a problem getting paid. For a small label like Frenchkiss, we needed that money to come in every quarter. When the physical distributor would say, ‘Hey, sorry, these all broke,’ or ‘The stores lost the CDs’ or whatever excuses came up, it would stall our money. As digital started to grow, it allowed [labels] to get paid more promptly.”

 Syd Butler, President of Frenchkiss Records

    • #iTunes
    • #Apple
    • #Steve Jobs
    • #Sony
    • #BMG
    • #Tunecore
    • #Labels
    • #Independents
    • #iPod
    • #Piracy
  • 3 weeks ago
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Lauryn Hill Confirms Sony Deal, Calls Reports ‘Inaccurate’

Lauryn Hill took to her Tumblr page to comment on recent media reports that she’d inked a new deal with Sony Music in order to help her avoid prison time for three years’ worth of missed tax returns. She wrote that she will be launching a new label through Sony to release her new music but called media reports on the nature of the deal and its dollar amount “inaccurate.”

Last year, Hill pleaded guilty for failing to pay federal taxes on $1.8 million earned between 2005 and 2007. On Monday, a federal judge postponed Hill’s tax evasion sentencing, giving her until May 6 to pay off her liability, which now stands at $504,000 after Hill made a payment of $50,000 late last year.


During Monday’s proceeding in Newark, N.J., however, Assistant U.S. Attorney Sandra Moser revealed that Hill had signed a new deal with Sony, and was set to receive $1 million for recording five new songs, plus additional money for an entire album’s worth of music, according to NJ.com.  However, Hill has yet to finish writing and recording the new songs; a rep for the singer declined to provide further details on the deal, and at press time a rep for Sony had not responded to Billboard.biz’s request for comment.

Hill’s post follows in full:

It has been reported that I signed a new record deal, and that I did this to pay taxes. Yes, I have recently entered into an agreement with Sony Worldwide Entertainment, to launch a new label, on which my new music will be released. And yes, I am working on new music.
 
I’ve remained silent, after an extensive healing process. This has been a 10+ year battle, for a long time played out behind closed doors, but now in front of the public eye. This is an old conflict between art and commerce… free minds, and minds that are perhaps overly tethered to structure. This is about inequity, and the resulting disenfranchisement caused by it. I’ve been fighting for existential and economic freedom, which means the freedom to create and live without someone threatening, controlling, and/or manipulating the art and the artist, by tying the purse strings.
 
It took years for me to get out of the ‘parasitic’ dynamic of my youth, and into a deal that better reflects my true contribution as an artist, and (purportedly) gives me the control necessary to create a paradigm suitable for my needs. I have been working towards this for a long time, not just because of my current legal situation, but because I am an artist, I love to create, and I need the proper platform to do so.
 
The nature of my new business venture, as well as the dollar amount reported, was inaccurate, only a portion of the overall deal. Keep in mind, my past recordings have sold over 50,000,000 units worldwide, earning the label a tremendous amount of money (a fraction of which actually came to me).
 
Only a completely complicated set of traps, manipulations, and inequitable business arrangements could put someone who has accomplished the things that I have, financially in need of anything. I am one artist who finds value in openly discussing the dynamics within this industry that force artists to compromise or distort themselves and what they do, rather than allowing them to make the music that people need. There are volumes that could (and will) be said.
 

    • #Lauryn Hill
    • #Sony
    • #Sony Music
    • #Tax Evasion
    • #Music Business
    • #Music Industry
  • 3 weeks ago
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Jessie J settles with former manager

Jessie J

Jessie J will reportedly pay her ex-manager a million pounds to end a long-running legal battle relating to his sacking ahead of her deal with Universal Music.

Raymond Stevenson of management firm 141a said that he originally discovered the singer while she was still attending The BRIT School, and helped her develop the style and persona that delivered so big once she signed to the mega-major.

And while he was already out of the picture by the time that deal was struck, he reckoned that his efforts to put the singer in front of industry execs on both sides of the Atlantic played a crucial role in her subsequent successes. He also said that he put £70,000 of his own money on the table to buy J out of her deal with Gut Records when that company went under in 2008. J then moved her management allegiances to Crown Talent before signing with Universal, which released her debut album ‘Who You Are’ in 2011.

The dispute between J and Stevenson has been rumbling on for two years, but both sides in the squabble have now issued a joint statement that says, simply, “the parties have reached an amicable resolution”. Stevenson added: “141a is very proud of Jessie’s achievements – she is a very talented artist”.

The terms of the settlement are not known, but The Sun says Stevenson will get £1 million, said to be about a fifth of the earnings of ‘Who You Are’. The paper quotes a source as saying: “This is an absolutely massive payout. Jessie is signed to the type of huge label who usually just get what they want. Ray is extremely well respected, but he runs a relatively small operation and Jessie’s people thought he would just roll over”.

    • #Jessie J
    • #Universal Music
    • #Music Industry
    • #Music Business
  • 3 weeks ago
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Warner boss discusses Parlophone plans in Memo

 

Parlophone

The boss of Warner Music has issued a memo to staff with some information about the integration of the Parlophone Label Group with the mini-major. The memo was seemingly circulated to coincide with a filing with the US Securities And Exchange Commission covering some specifics regards the financing of the deal.

As previously reported, when it acquired EMI last year, Universal Music was forced by competition regulators to sell the Parlophone Label Group – which includes the UK-based Parlophone frontline label and catalogue, some more British EMI archive, and EMI operations in various other European markets – and it was announced that Warner would buy it in February in a £478 million deal.

In his memo, Warner boss Stephen Cooper tells his staff that the deal, which itself is subject to regulator approval, has been given the green light by the authorities in Brazil and US, and is on track to be completed this summer. The main hurdle in that regard was always going to be the European Commission, though with Europe’s indie label community smiling on this deal, no major issues are expected there either.

Cooper went on to describe his plans for Parlophone once the deal is done. He confirmed that Parlophone will operate as another frontline label within the Warner business, alongside Atlantic and Warner Bros, suggesting the brand will become active in more territories that under EMI. He added that the classical catalogues and brands that would also come with the acquisition would be used to “reinvigorate” Warner’s approach to the genre.

And that’s not the only area in which Cooper hopes the Parlophone acquisition will provide a catalyst for change within the Warner business. The CEO notes that the arrangement will also strengthen Warner Music’s presence in a number of European territories, before adding that he saw the expansion as a “catalyst for a new global catalogue strategy”. As previously reported, in the US Warner has more closely aligned its record label catalogue operations with its music publishing business, and it will be interesting to see if the new “global strategy” mirrors those efforts.

Cooper’s memo didn’t go into any detail about his agreement with the European independent community to work in partnership with some indie music companies to capitalise on the potential of the Parlophone Label Group catalogue. That, of course, could well be the most interesting element of this merger, though the specifics may well not be worked out until the PLG acquisition is properly completed.

    • #Parlaphone
    • #UMG
    • #Universal Music Group
    • #Warner Music
    • #Classical Music
    • #Global Music
    • #Record Industry
    • #Record Label
    • #Music Publishing
  • 3 weeks ago
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Avatar Transition Music Corporation (TMC) is a “One Stop Shop” providing music and professional services to all media, across all platforms. Networks, cable television, marketing/advertising agencies, corporations, new media as well as independent producers and major studios look to TMC to deliver custom and/or pre-recorded music for their productions. Our in house music supervisors leverage our music library, song catalogs, songwriters and independent artists to deliver packages that meet each creative vision and budget.

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