Ex Wai, a gifted musician from Ghana, delivers this amazing


This post was published by the content creator and not GhanaWeb, its affiliates, or employees.

Reporter Post of Wednesday, 6 September 2023

Source: Shizzy Banks


Ex Wai, a gifted musician from Ghana, delivers this amazing rendition of “TOKENDO.”

This amazing song, titled TOKENDO, will be released by the talented and dedicated Ghanaian musician Ex Wai. This beautiful song will be newly released on the 14th of August. You can listen to the song when released by following Ex Wai on all social media and musical platforms and downloading this lovely music.

Amazing Ghanaian singer and composer Ex Wai is on the rise. He is the mastermind behind the exquisite symphony known as TOKENDO, which will be accessible to the general public right here on Ghanaweb.com.

The gifted singer and songwriter is steadily ascending the ranks of the music industry. Ghanaian music, who is dedicated and talented, created TOKENDO.

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TikTok Music, The Service That Wants To Dethrone Spotify?


TikTok Music has the essence of the video platform

The first point that draws attention to this platform is its interface, since it is a replica of the short video platform, but with the cover of an album in a central plane and the ability to change songs vertically and not horizontal, as we are usually used to.

The Home interface is based on three For You windows, based on your tastes and artists related to the music you like. The second option is Familiar, inspired by the songs of the artists you have already given a like and finally there is New, in which you can discover a selection of songs.

In all cases, the menu is practically the same. On one side is the characteristic TikTok menu, which has a heart, a comments section and a button to share music, and from the likes you give, an algorithm is created that takes into account the user’s musical tastes. .

This can be good, since the system gets to know the person, but it can also be problematic if you take into account that when it comes to music, something nice is discovering new artists and with these algorithms you usually enter a spiral of content that It pleases you, but it doesn’t give you new things.

Something relevant is that the songs have a section where you can see the lyrics of the songs. This element is important considering reports that this feature could be exclusive to premium Spotify users.

TikTok exploration and recommendations

Its second menu is Explore, in which the user can directly search for the music that interests them and from that information the platform also creates some lists based on the user’s tastes.

For example, it recommends songs based on recent selections, but it also makes artist mixes, which are exclusive to the specific user and usually include about 50 songs.

On the other hand, it recommends lists based on moods, such as Happy Pop, Synthwave or Relax, but it also takes into account the trends of the music industry from TikTok Music Top 50, which includes the most famous songs in the world. video platform, in addition to others inspired by trends, such as TikTok Viral México or Retos TiKTok, among others.

All this commitment to the platform demonstrates the approach that Rob Ruiz, TikTok’s music operations leader, shared with Expansión in September of last year, regarding music being a central component of TikTok content, but also an accompaniment to contribute to the communication of ideas.

Podcasts, the element that makes Spotify different

One of the most important elements of Spotify is its strong commitment to podcasts, which does establish an important difference with TikTok Music, since this type of content has become one of the main ways to diversify the commitment to streaming audio and It makes TikTok Music feel like a newbie service.

However, through TikTok Music you can play, download and share music from the catalog of the three largest labels in the world: Universal Music Group, Warner Music Group and Sony Music.

The catalog is quite extensive even though the platform is in a beta, which means that it has not been completely launched to the public, but rather to a limited group so that they can test it and provide feedback before its official launch. It is only available to a small number of users in Brazil, Indonesia, Australia, Singapore and Mexico.

TikTok Music will have three plans: individual, student and family. In all plans you can have three months free, listen to music without ads, skip songs and unlimited downloads. The cost of the individual will be 115 pesos per month.

The student plan offers the same, but with the difference that only students can access it and the cost will be 59 pesos per month. As for the family plan, in addition to these features, you can include up to six accounts and block explicit content for a cost of 179 pesos per month.

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Japanese pop agency head quits after admitting late founder


Kitagawa, who died in 2019 aged 87, headed the most powerful talent agency in Japan’s pop music industry and the scandal, which emerged fully earlier this year, has horrified the country.

Julie K. Fujishima, 57, bowed deeply as she faced reporters, and apologised for the abuses, saying she stepped down on Tuesday.

“Our office Johnny & Associates, and myself Julie Keiko Fujishima… recognize that Johnny Kitagawa did sexually abuse (the boys). I apologise to the victims from the bottom of my heart.”

Since the BBC aired a tell-all documentary in March, the national sense of outrage in Japan has borne similarities to the reactions seen in the United States and Britain after the scandals involving Hollywood movie producer Harvey Weinstein, and British TV star Jimmy Savile.

As more Japanese media took up the story, lawmakers voiced outrage, while the United Nations’ human rights experts also criticised the talent agency for its handling of the allegations.

Founded by Kitagawa in 1962, Johnny & Associates has an outsized cultural presence in Japan, producing some of the most popular names in J-pop including SMAP and Arashi, both with massive fan bases across East Asia.

Fujishima named Noriyuki Higashiyama, a former member of the hit 1980s boy-band Shonentai, as the new head of the agency.

Higashiyama, 56, said he had never been a victim of the abuse or witnessed it, but had been aware of the rumours. “I couldn’t, and didn’t, do anything about it,” he said.

“It will take time to win back the lost trust, but I will devote the rest of my life to dealing with this problem.”

Calling the scandal “the most pitiful incident in human history”, Higashiyama said there had been debate, but no conclusion, as to whether the agency should change its name.

Yukihiro Ohshima, a member of the Johnny’s Sexual Assault Victims’ Association, said: “I think she [Fujishima] acknowledged and sincerely apologised for what happened. It’s not like the emotional scars are gone but I think out of 100 points things have gotten a little easier by about 10.”

Fujishima, who is the sole owner of the company, said she would stay on as representative director until the work of compensating the victims was complete. The agency had yet to work out how that would work.

The agency’s official confirmation of Kitagawa’s conduct prompted Japan Airlines to announce that it would suspend the use of Johnny & Associates’ talent in its advertisements. Major insurer Tokio Marine & Nichido Fire Insurance also said it would consider terminating its contract with the agency.


The first media reports of Kitagawa’s abuses of boys and young men, known as Johnny’s Juniors, were carried by local tabloid Shukan Bunshun in 1999, but the scandal blew wide open this year as more victims came forward after the BBC’s report.

A victims’ group called for revisions to laws to protect children not only from abuse by a parent or guardian but other adults in positions of power. An opposition party put forward a bill, which failed to pass during the last session of parliament.

One former “Junior”, Kauan Okamoto, told a press conference in April that he had been the target of Kitagawa’s advances on as many as 20 occasions since he was 15.

“Juniors” would regularly sleep over at Kitagawa’s apartment in groups, with one or several being targeted by Kitagawa for the night, he said. On one occasion, Okamoto said he had received oral sex from Kitagawa, and cash the following day.

A report published last week by a third-party investigation team led by a former attorney general and commissioned by the agency also described similar testimony from victims.

Despite his status, Kitagawa kept a low profile in public and few photographs of him are available. He never faced criminal charges and continued recruiting teenage boys until his death.

Born in Los Angeles and raised in Japan, Kitagawa was known as Johnny-san by the boys on his agency’s books. He cultivated generations of male idols and all-boy bands, a business model that has been emulated across East Asia.  He holds several Guinness World Records, including for the most #1 singles produced by an individual.

This story has been published from a wire agency feed without modifications to the text. Only the headline has been changed.

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Updated: 08 Sep 2023, 05:36 AM IST

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Take 5 with violinist, DJ and entrepreneur Jasmin Rhia


What exactly is art; who defines it; who makes it, and where in Atlanta do poets, thespians, and artists congregate and create? We’ll use this space to catch up with a few for a few…some you may know; others we hope you’ll be pleased to meet their acquaintance.

Jasmin Rhia

My dream side gig is becoming a DJ—I even bought equipment at the onset of COVID-19 to learn and prepare for my new post-pandemic career. The DJ equipment is in my garage collecting dust. 

Unlike me, Jasmin Rhia, who grew up in Atlanta and Orlando, FL, has been a real DJ, violinist, music producer, rapper, and entrepreneur for the last ten years. And when she’s not practicing her art, you may find her hanging out skating at the Old Fourth Ward skatepark or performing between Ponce City Market and the activity field. It was a pleasure getting to know more about her.

When did you fall in love with the violin; how did you know it was meant for you? 

I was 8 when I fell in love with the violin. I remember watching a Missy Elliot video “Hit Em Wit Da Hee,” they had this epic breakdown in the song where four female violinists played. Then, at 10, a classmate showed me her violin after music class; it was love at first sight! It was the first time I had seen the instrument up close, and later that day, I asked my Mom if I could play. I started the following year and went on through college. 

Who is your musical inspiration, and why are they important to you?

I’ve had a few musical inspirations growing up, but the most influential musician was Miri Ben Ari. Seeing her play violin in the “Overnight Celebrity music video with such style and flavor left an everlasting impression on me. I checked out her other videos on YouTube and was amazed at the crowd’s reaction to her Apollo performance. She covered hip-hop songs with a DJ spinning in the back, and I remember getting so hyped! Seeing someone so elegant and talented not having to rely on her sexuality to sell records was an excellent example for me to witness as a young lady.

I checked out your Afrobeat Mix 2023—it’s such a vibe. Your DJ collaborations with your skills as a violinist are ingenious—how did you become a DJ?

That’s so dope! Thank you! I started DJ’ing in high school after my friend gave me a download of her brother’s Virtual DJ program. At this time, I was making mashups of mostly hip-hop & R&B songs and putting them on mixtapes. I didn’t start pursuing DJ’ing professionally until 10 years later. Before that, I mainly was rapping and producing until I hit a roadblock. I refused to fit into the stereotypical, overly sexualized female artist role. I ended up quitting music for a couple years. It wasn’t until visiting a friend in Hawaii for a healing retreat that I became exposed to a different side of music. I was introduced to the independent scene and realized I could do things my way. When I returned to the mainland, I was inspired to play my violin again. I was inspired to start DJ’ing professionally after attending the Electric Daisy Carnival (EDC) festival. I eventually put the two together and created a business around performing cover songs for clients interested in hiring unique entertainment for private events!

You describe your recording label, Artists of Morality (AOM), as “using the power of music to spread peace and empowerment.” Share more about the mission of AOM and what you’d like its impact on art and artistry to be.

Our mission with AOM Records is two-fold. We believe all musicians should strive for ownership when working in the music industry. This way, they are in charge of their art and image and can use their talents to positively impact the community. Since music business knowledge is necessary to achieve this, we provide educational resources for musicians interested in pursuing an independent career. Our label also provides musical workshops and private lessons for the youth in our community. Kids must have something enriching to look forward to. As I witnessed early on the positive effects of expressing myself musically, I must pay this experience forward.

What inspired you to begin the “Know Your Worth: A Musical Mental Health Workshop?” How did the events during the last three years influence you?

I created the workshop in 2017 to empower the youth with tools to help them overcome some of the trials and tribulations they may face. I had hit rock bottom a few years before pursuing music in Los Angeles. After moving back with my family, I went through a healing journey that ultimately brought me back from the darkest period of my life. One of the lessons I learned during this journey was the power of words and how our mindset directly affects our well-being. I also knew the music and entertainment I consumed had a huge impact. This inspired me to design a workshop that made learning mental strength entertaining while teaching the youth music production and songwriting. When I read the statistics on depression and anxiety rising in the community since the pandemic, I was shocked. Seeing that many of us have struggled in some shape or form with our mental health these last few years has made this workshop more relevant than ever.

To learn more about Rhia, check her out at aomrecords.co or Jasminrhia.com or on Instagram @itsjasminrhia.  

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How Record Labels Won the Battle Are Losing the War –


September marks the 20th anniversary of the RIAA launching litigation against consumers in a bid to extinguish — or at least dampen — the flames of peer-to-peer (P2P) file sharing. The consumer litigation was part of a multi-pronged effort that targeted internet service providers, the P2P providers like Napster and Limewire and music fans. In early 2003, nearly 40% of internet users in the United States had used a P2P service to download music, or an estimated 54 million individuals. Upon the RIAA’s announcement of consumer suits, parents began asking their children what they were doing with those stacks of blank CDs; coverage of the pending litigation stifled file sharing before the first notice was filed.

Much has been written about the P2P era, but one thing is for sure: The vast majority of downloaders knew it was illegal. If there was any uncertainty in consumer’s minds, the RIAA litigation helped to clear it up. Perhaps that is the greatest legacy of the consumer litigation, which ended in 2008. The actual law was contested for some time, with arguments about technological innovation and the promotion of that technology for purposes of copyright infringement.

By the 10th anniversary of the consumer litigation in 2013, the record labels had largely won the battle against P2P file sharing. After settlement of the Limewire copyright infringement case in May 2011, the number of people using the remaining services rapidly fell in the United States, and by 2013 had dropped 60% from the peak in 2003. Litigation was one of many contributing factors. The P2P file sharing experience was awful for users, fraught with spoofed files, pop-ups, malware, incomplete and incorrect files, and other maladies. iTunes downloads revived the singles era by offering $.99 tracks. Pandora had been at the top of app store charts for several years, and Spotify was gaining momentum. By 2013, half the U.S. internet using population was streaming, and a handful were beginning to pay for subscriptions. The RIAA moved on to other battles, notably the YouTube “Value Gap.”

As the 20th anniversary of the consumer suits approaches, there has been a stunning reversal in progress in the war to limit consumer access to unlicensed music. An estimated 55 million people in the U.S. acquired or accessed “free” music files in the past year, according to MusicWatch research — the same amount as in 2003. What went wrong? There is an abundance of apps and sites that permit consumers to obtain unlicensed music. Apps that permit YouTube stream-ripping are widely available. Mobile apps available with “free downloads” frequently contain unlicensed content. The very social platforms that the industry relies on to promote artists also harbor unlicensed content. Unlike in the P2P era, the law is clear when it comes to these forms of copyright infringement and licensing requirements, though the DMCA still provides a shield to services that rely on content uploaded by fans.

The problem is the consumer. The teenager who knew that they were committing piracy while downloading In Utero from Limewire is now an adult. Today, they can be easily confused. Their Google music searches may include content that infringes on copyright. Same for the app store on their phone. The recent spate of Taylor Swift Eras tour livestreams on TikTok, while technically the same as a stream-rip of “Cruel Summer,” does not register the same in fans eyes. On top of the unlicensed content, MusicWatch studies indicate 20 million streamers are sharing logins to music streaming services.

The industry has not been silent. The RIAA has litigated against stream-rippers. Mixtape app Spinrilla was successfully sued for infringement and shut down in May. Sony and Universal just sued the Internet Archive for copyright infringement. And as an alternative, streaming companies offer family plans, which raise ARPU and blunt the impact of unauthorized account sharing.

Unlike 2003, however, the industry isn’t paying much attention to the infringing consumer. And why should it? There hasn’t been a collapse in revenues as was experienced during the aughts. Most infringing consumers are active streamers and many pay for a subscription — and a vinyl record or two. There’s not much reason to target music fans. But that doesn’t mean that more shouldn’t be done to educate consumers and further protect the rights of artists and copyright holders.

Russ Crupnick is the principal at market research firm MusicWatch.

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Train Receives SoundExchange Hall Of Fame Award @


New York, NY (Top40 Charts) SoundExchange, the premier music tech organization powering the future of music, announced today that GRAMMY-winning rock band Train has been honored with a SoundExchange Hall of Fame Award recognizing their massive hit single “Hey, Soul Sister” as one of the most streamed tracks in SoundExchange’s 20-year history.
“Train took the music industry by storm in 1998 and have proven themselves as consistent hitmakers ever since,” said Michael Huppe, President and CEO of SoundExchange. “‘Hey, Soul Sister’ is an enduring and instantly recognizable singalong classic. SoundExchange is thrilled to honor this legendary group and their continuing success.”

Huppe presented Train lead singer Pat Monahan with the band’s SoundExchange Hall of Fame Award prior to their recent performance at the Wolf Trap National Park for the Performing Arts, in Fairfax County, Virginia.

Train is a multi-GRAMMY and Billboard Award-winning band from San Francisco that has had 14 songs on Billboard’s Hot 100 list since the release of their debut self-titled album. Train’s climb to the top began in 1994, as the original five-member band tenaciously built a loyal hometown following leading up to their debut album released by Columbia in 1998. The tumbling wordplay of “Meet Virginia” gave them their first unlikely radio hit, and 2001’s Drops of Jupiter broke them to multi-platinum status thanks to the double GRAMMY Award-winning title song that spent 10 months in the Top 40. It has also been certified seven-times platinum in the U.S., and earned the 2001 GRAMMY Award for Best Rock Song. The group won another GRAMMY Award in 2011 for their global hit “Hey, Soul Sister” from their multi-platinum album Save Me, San Francisco. “Hey, Soul Sister” was the No. 1 best-selling smash and most downloaded single of 2010, achieved RIAA Diamond status in 2021 and now 11-times platinum, and in 2022 surpassed one billion streams on Spotify. Train has sold more than 10 million albums and 30 million tracks worldwide, with multiple platinum and gold citations, including three GRAMMY Awards, two Billboard Music Awards, and dozens of other honors. They’ve had 12 albums on the Billboard 200 albums chart with their 2014 Bulletproof Picasso reaching No. 4 in 2012 and 2017’s a girl a bottle a boat debuting at No. 8. “Play That Song,” the lead single from a girl a bottle a boat, went platinum in four countries including the U.S., hit Top 5 on the US iTunes chart, Top 10 at Hot AC radio, and charted at Adult Top 40. Train’s highly anticipated 11th studio album, AM Gold, was released on May 20, 2022.

Train front man, Pat Monahan, partakes in other ventures outside of music, including his award-winning wine portfolio, Save Me, San Francisco Wine Co, which was created in 2011 and has sold over 10 million bottles and won over 100 medals. Proceeds from his wine business support Family House, a San Francisco charity that supports families of children with cancer and other life-threatening illnesses. Monahan has appeared on television and in film with credits that include the 2021 Hallmark Channel original movie, Christmas in Tahoe, inspired by Train’s album of the same name, which he executive produced and starred, Dr. Ken, 90210, CBS’s Hawaii Five-0 and Magnum P.I., The Voice, American Idol, and The Bachelor.

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BTS Jungkook Achieves 7 Weeks With ‘Seven’ on Billboard’s


Jungkook’s solo track “Seven” remained undefeated on Billboard charts, making its seventh week.

Read more of Jungkook’s achievement here!

BTS Jungkook’s ‘Seven’ Achieves Its 7th Week on Billboard’s Global 200

There are now seven weeks for Jungkook’s iconic track “Seven (feat. Latto).”


(Photo : twitter|@bts_bighit@)

On September 5, local time, Billboard revealed that “Seven” had maintained its place at the No. 1 spot on Billboard’s Global 200 and Global Excl. U.S. charts. The song has now reached its seventh week, which broke the record of BTS’s hit song “Dynamite.”

Not only did “Seven” manage to surpass BTS’s record, but also dominated as the only song from a Korean artist that spent most weeks on Billboard’s global charts at No. 1.


(Photo : twitter|@bts_bighit@)

YOU MIGHT BE INTERESTED IN: BTS Jungkook Makes Impressive #1 Debut on Billboard Hot 100 With ‘Seven’

Jungkook’s solo track also became the first song of 2023 to achieve seven weeks on Global 200 or Global Excl U.S charts. This record was previously held by Miley Cyrus’s “Flowers.”

According to Billboard, the song had garnered a total of 12,000 digital sales around the world, as well as 97 million streams. The data was recorded from the week between August 25 to 31, highlighting Jungkook’s unrivaled impact and popularity.

BTS Jungkook

(Photo : Twitter)

YOU MIGHT ALSO LIKE: BTS Jungkook Reigns: K-pop King Achieves 3 Weeks of Solo Supremacy on Billboard Charts with ‘Seven’

Jungkook debuted on Billboard’s Hot 100 on July 24, local time, when his track “Seven” placed at No. 1 on the chart’s top 10. From July 14 to 20, “Seven” had garnered 153,000 song downloads and CD singles, 21.9 million streams, and 6.4 million airplay hits.

This achievement was further amplified by the song’s entry on both Global 200 and Global Excl. U.S. charts. With these records, Jungkook wrote new history as the first Korean soloist to chart a song on Hot 100, Global 200, and Global Excl. U.S. charts all at once.

Congratulations to Jungkook for this impressive milestone!

Is BTS Jungkook’s ‘Seven’ the Most Successful K-pop Song in History?

In other news, Jungkook’s “Seven” earned the attention of netizens. While “Seven” is currently making waves across international areas, K-netz were also surprised with the song’s top-class performance on major domestic music charts.

BTS Jungkook

(Photo : Twitter)

They expressed how amazing it was for “Seven” to secure a place on MelOn’s daily chart, despite being an English-language track. Read their comments below:

  •  “An English song barely charts high in MelOn’s daily chart, but this is impressive.”
  •  “Among all Korean artists, he’s achieved the most, and he’s only 25 years old.”
  •  “For MelOn standards, this is almost considered as miracle-level on MelOn.”
  •  “Many of the charts are full of strong musicians, but you’re telling me that a male soloist made it on MelOn’s daily chart at No. 1?”

You can watch the full MV for “Seven” here:


For more intriguing news and exciting updates, keep your tabs open here at KpopStarz!

IN CASE YOU MISSED IT: BTS Jungkook’s ‘Seven’ Claimed the Most Successful K-pop Solo Release: ‘It’s the best result in history’

KpopStarz owns this article
Written by Riely Miller

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Apple’s BIS acquisition is a bet on a classical music


More than 80% of the music we listen to today is delivered over streaming, according to figures from last year. But when you look at classical music, it’s been a stubborn hold-out, accounting for just a tiny fraction of that, with just 0.8% of streams (and that’s in the stream-friendly market of the U.S.). Apple’s bet is that this percentage will grow, though, and it wants a piece of that action. After launching its new classical music app earlier this year, Apple has taken its latest step into the space: BIS, a revered classical music label out of Sweden, announced today that it is joining the company.

The deal will bring a number of things to Apple.

First there is a small team, which founder Robert von Bahr today said in a note would be coming over and working within the same division as Apple Music Classical and Platoon (a creation and distribution platform Apple acquired years before).

It’s also bringing the BIS critically-acclaimed present and future catalogue to the company: thousands of recordings of obscure works, well-known pieces in original interpretations, and everything in between. You used to be able to search and order from that catalogue on BIS’s own site. Now, to get to it, you can search on Apple. (And, for now at least, you can also download from e-classical.)

One other thing that BIS is bringing is some weighty credibility to Apple and its classical endeavors. 

The challenge to build a business and audience around classical streaming has been a long time in the making, not just for Apple and the wider industry.

Some of the shortfall in consumption will have been due to overall popularity of the medium — Robert Schumann, and Clara for that matter, just don’t pull in as many punters as Taylor Swift. But it’s also been a challenge to translate recording metadata and discoverability into formats that work in the streaming medium.

For starters, you have composers, but also individual recording artists and ensembles; you have albums that can contain works from one of these, or a mix of them; works have movements and those don’t follow standard conventions sometimes being numbered or named or ordered by the speed they are played at, which might be in a number of languages; and so on and so on. Those who listen to classic music tend to get very frustrated with that, and this is before considering the sound quality on a lot of streams.

Yes, some of that is gradually being improved. But even those with the deepest pockets and the most earnest of hopes have stumbled.

Apple is the world’s most valuable tech company, and it really tried with its app to address some of this. But when Alex Ross, the chief music critic for The New Yorker, penned a review of the new Apple Music Classical app, the title said it all: “APPLE AGAIN FAILS TO SAVE CLASSICAL MUSIC.”

Apple, for its part, has been chipping away at building a classical streaming experience for a while now.

In 2021, it acquired classical streaming specialist Primephonic. It then used Primephonic to launch, earlier this year, a whole new Apple Music Classical app experience. It also has built out high-end tools for listening to music, namely in the form of its hardware and audio software.

The BIS acquisition is not a classic tech deal, but it is a classical tech deal. The label has been going for 50 years, and in that time it has made a name for itself for making definitive and often pioneering recordings of works and of artists that might otherwise have been overlooked. It’s ploughed a lot of time and thought into building relationships, as well as coming up with the best techniques for making those recordings.

“I don’t care so much about the ‘how’, only the ‘wow’ that their expertise brings in CD after CD,” founder Robert von Bahr said in an interview 20 years ago with MusicWeb. (Von Bahr is now 80, which in itself is something to call out and celebrate in a tech industry that has so often leaned on and celebrated youth and overlooked older people.)

“It is nice to be able to reproduce exactly what the musicians do, without having pre- and post-echoes or tape hiss to worry about… We are not closing the doors to anything, but we won’t follow anything for gimmickry reasons. We will advocate – and use – systems that we feel make an appreciable difference to the discerning listener, but we will not compromise artistic quality or concentrate on anything but the music simply in order to be able to write some new numbers on the sleeve.”

In his note today, Von Bahr noted that he was drawn to Apple’s “fundamental belief in the importance of preserving audio quality,” focusing specifically on innovations like Spatial Audio to expand on that future.

One thing that Apple does not seem to mind is that BIS is far from a blockbuster in the wider music business sense. Back before streaming took over the world, in 2003, Von Bahr talked of album sales of hundreds or even single-digits annually. Maybe those low numbers make for smaller laments over the death of record sales?

Yet even so, BIS and its founder have also thought a lot about the business model around how stakeholders have been paid for works. It turns out that the same complexities around all the different kinds of metadata also translates into a lot of business complexities.

“We do not pay flat fees, but try to form a partnership in the form of a goodly sized royalty portion for the artists,” he said in the same interview. “This has several advantages: we are all getting paid from how the record sells, which in many cases is rather more than a flat fee would have been and, of course, we are able to do more daring programmes when the initial outlay isn’t totally crippling.” BIS employs producers, engineers, and other technicians to manage recordings, but the company has had its own experience with how to handle others in the ecosystem who would like a cut of sales, such as those who own the publishing rights — interesting words considering how battles over this have continued into the world of streaming.

“The real stumbling block,” he said, “is the exorbitant fees that some publishers, luckily not all, are asking for letting someone take a huge risk in recording works that they don’t always know themselves that they have. Not being content with cashing a large part of the copyright fees that we pay upon selling the CD, they want to have a huge fee for sending the materials (scores and parts) to us for the recording, materials that often are in such a condition that the recording has to be postponed or even cancelled.”

Apple, of course, by buying up a label, is shrinking the number of chairs around the negotiating table even more for the future.

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