Research from the Music Intel team and guest writers.
Every article lists its sources and says what is fact, what is our analysis and what is opinion.
Chief Executive's Office
Music Data Intelligence
Market size and the money at stake.
The Streaming Inflection: How Streaming Turned Music into a Data Industry
How streaming moved the music business from counting sales to counting plays.
The Fragmented Music Data Problem: The Music Industry Built a Global Distribution System Before It Built a Global Identity System
Why music has more data than ever, yet the complete picture around a work or recording is still so hard to establish.
You Don’t Know What You’re Missing: The Practical Limits of Royalty Investigation
How can a royalty investigator, however experienced, know they’ve checked everything they reasonably could?
Investigating the Information: What Royalty Investigation Can Learn From Mature Investigative Markets
How legal disclosure and digital forensics learned to cope with too much data, and what royalty investigators can take from them.
The Economics of Knowing: How Royalty Data Can Help Value a Catalogue
How the data that answers ‘have I been paid correctly?’ can also help answer ‘what is this catalogue worth?’
Chief Operations Office
Harmonic Considerations
Practical advice for people running the work.
What Personal Values Mean in Business
Wendy Pollard on four values (honesty, kindness, acceptance and gratitude) and how they shape the way Music Intel works.
Chief Data Office
Music, Data & Insights
Identifiers, matching and standards.
No dispatches from this Office match the current filter.
Chief Creative Office
For the Record
First-person stories and argument about music data.
From Filing Cabinets to Streaming: The Evolution of Data in the Music Industry
A personal view from Karl Parsons
Guest Office
Contributed Research
Research and perspective from named music industry contributors.
My Road to Catalogue Activation and Unlocking the Value of Tier C Artists
Dan Am on Tier C artists: acts with charting hits from 1980 to 2010 who still have a live audience, and what the data says about them.