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Michael Degusta questions David Lowery’s Pandora royalty claims, is partly misleading, partly bang-on

Link: Pandora paid over $1,300 for a million plays, not $16.89

Remember that post from David Lowery about Pandora rates?

Here’s a reply from Michael Degusta, doing what everyone that linked to the original story (including me) should have done and double-checking the maths (with an S please, people!).

His calculations and research tells us what Lowery’s song made in total from Pandora, including a performance royalty that Lowery mentioned in passing but said he’d post about later. In doing so, Degusta makes the argument that Lowery’s total take for the song was more like $230 than $16.89:

Conclusion. By this math:

Pandora paid a total of about $1,370.
The band received a total of about $585.
If Lowery received 40% of the performance royalty, “all he got” for the 1 million plays was in fact around $234.
Whatever one thinks of the fairness of those numbers, they’re all clearly far larger than $16.89.

It’s inflammatory stuff but it’s just as misleading as it claims Lowery was – Degusta’s basing his total on figures that include the performer royalty as well, but if you go back and read the original blog that everyone picked up on, Lowery’s complaint focusses on the songwriter’s royalty. Lowery does mention the performance royalty and clearly states he’ll talk about that separately, and if you go through the comments he repeats that this was his angle, how much a songwriter makes from Pandora.

But Degusta also examines Lowery’s Pandora and US FM/AM radio comparisons:

The main issue here is that Lowery cites only dollar amounts for comparison:

• “For frame of reference compare [sic] Sirius XM paid me $181”
• “Terrestrial (FM/AM) radio US paid me $1,522”

This is quite simple: those sources paid him a lot more primarily because a lot more people heard his song via those sources. For example, AM/FM paid him $1,373.78 for 18,797 spins. That’s 7.3 cents per spin. If only 10,000 listeners heard each spin, terrestrial radio is in fact paying just half the songwriter fee Pandora paid him per listener. And of course it’s likely to have been far more than 10,000 – even the intentionally miniscule South Dakota radio station Pandora just bought manages to average 18,000 listeners.

Degusta concludes:

None of this means Pandora ought to pay less in royalties. … But attacking Pandora with intentionally misleading statistics just undermines the credibility of the argument.

It seems to me a little cheeky to end like that when the basis of his own attention-grabbing headline merges performer and songwriting royalties while Lowery sought only to examine the latter.

Finally, Pandora themselves have pitched in.

I can see what Lowery’s point is about songwriting not paying so well, but he made some poor comparisons to other royalties that didn’t help his case. And when Degusta provided those eye-opening (but in my view beside-the-point) performance royalty estimates, along with ably debunking the radio comparison, the combination further distracted everyone from Lowery’s original point.

I think all we can take away from this is that working out balanced royalties in this new digital age is not easy, and making a living in music is a gamble.

(Via Daring Fireball)

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Does it really matter if Jim Carrey changed his mind about Kick Ass 2?

Today a lot of people are talking about Jim Carrey’s tweets that he no longer feels comfortable with the level of violence in Kick Ass 2 in light of the Sandy Hook shootings, and as you’d expect he’s being pilloried by some and praised by others. The producer of the film, Mark Millar, replied that he’s “baffled” about the decision.

I don’t see the problem, really. I find it perfectly feasible that the experience of performing violent acts during filming felt quite crass a few months later when the tragic massacre occurred in that school. Not that massacres are a new phenomenon, particularly in America, but maybe that was the one that broke him, happening so soon after working on Kick Ass 2.

I was going to write more, examining the range of reactions to the news from around the web, but then I stumbled across this piece by Devin Faraci at Badass Digest and his thoughts chime with mine.

On Carrey changing his mind at all:

To me that’s admirable. It’s possible that the extreme violence on set during the Kick-Ass 2 shoot contrasted with the real life violence of Sandy Hook weeks later is what caused something to switch over in Carrey’s thinking. That’s indicative of someone who is allowing experience in, who is examining his beliefs all the time, someone who isn’t didactic or chained to one belief system in the face of all reason. Yet to many others this is weakness, and an occasion to belittle and attack the guy. He’s bitching, they say. Didn’t he read the script?, they ask. He’s happy to cash the paychecks, they mock.

They, frankly, are the small minds.

The latest trend is for folk to angrily and snarkily demand Carrey donate his entire fee for Kick Ass 2 to charity. They’re doing this all wrong. For one thing his fee is for at the very least his performance (we have no idea what he’s contractually obliged to do beyond that so stop speculating) and he’s not removing his performance. So no, he shouldn’t donate his fee.

But I do think it would be okay for me to say,

“Hi, Jim. I respect your opinion and your having the balls to stand up and say it, and I’m looking forward to the film all the same. Have you considered also making a donation to a relevant charity? It might help make you feel better, and also maybe it would shut up those people on the internet, don’t know if that bothers you but anyway. I’m sure you’ve probably considered it, I’ll leave you be. Loved you in Eternal Sunshine by the way.”

You know, friendly, like?

Ultimately, people are always going to knee-jerk and get angry on the internet, they’ll get over it. But I remain rather baffled myself as to why Mark Millar would publicly express confusion at Carrey’s ability to change his mind. It shows a lack of compassion and understanding – he doesn’t have to agree with Carrey, but to me it’s not baffling.

It’s also hardly likely to do any damage to the film, not that for one second I think that was Carrey’s intention either. It’s going to get plenty of word-of-mouth off the back of this alone.

“So violent Jim Carrey doesn’t want anything to do with it!” certain sections of the media will scream, guaranteeing further bums on seats. An oversimplified misinterpretation it may well be but what section of the demographic Kick Ass 2 is aimed at is going to be put off by such a claim?

My opinion? As far as I’m concerned it isn’t movies like Kick Ass that enable or cause horrific shootings – I’m not sure that any element of pop culture should be held ‘responsible’ – so while I think Carrey’s reasoning sounds misplaced in that respect, I can’t argue with him having the courage of his convictions to be true to them.

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Editorial

UPDATED: David Lowery got $16.89 for a million plays on Pandora

UPDATE: It turns out that Mr Lowery may have got his sums a little wrong, or at least not told quite the whole story. Michael Degusta has posted a reply questioning the maths.

ORIGINAL STORY:

Link: My Song Got Played On Pandora 1 Million Times And All I Got Was $16.89!

Performer David Lowery is sharing how much he makes from Pandora, Sirius XM and US radio airtime, to make the point that Pandora already pays appallingly low rates and is petitioning US Congress to get away with paying even less.

Here’s an idea. Why doesn’t Pandora get off the couch and get an actual business model instead of asking for a handout from congress and artists? For instance: Right now Pandora plays one minute of commercials an hour on their free service. Here’s an idea! Play two minutes of commercials and double your revenue! (Sirius XM plays 13 minutes and charges a subscription).

I pay the full subscription for Rdio (I like the focus on albums and prefer the layout to Spotify’s darker look) and while I’m probably not quite using it to the max I feel I get my £9.99’s worth. But I don’t really know where Rdio and Spotify stand in the royalties league table.

If they are as paltry as Pandora, will I reconsider? I’m not sure.

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Why I find it hard to trust Touch Arcade reviews

Or, When a ‘review’ is actually just a ‘hands-on first impression’

Touch Arcade is one of the biggest, most popular sites for news and reviews of iOS games. They also have a great iOS app that will keep you updated of news and price drops for watched games, and an active forum. Unfortunately I’ve found that when held against my own standards their journalism and particularly their reviews are not the most thorough or balanced; constructive criticism is often neglected, compromised by too much in the way of gushing praise, I feel.

You could charitably put this down to mere differences of opinion, but their ‘review’ of XCOM on iOS takes the biscuit, being little more than a vague hands-on first impression and frankly it barely qualifies as that – ‘glorified affiliate link’ would be my cynical assessment.

In this review they spend about 90% of the content describing and recommending the source PC/console game (which you can find in any review from the original release as it famously hasn’t changed) and just 10% covering the port itself, vaguely. Five stars, buy it now through our link.

Full disclosure: I also use affiliated links but I pride myself in giving as full, honest and balanced an opinion as possible about the apps and tools I talk about here. I rarely get that balanced feeling from Touch Arcade’s reviews, especially this one.

Now, the XCOM I’ve played on Mac and XBOX really is excellent. This iOS port is meant to be so complete as to be The Same Game, so it’s fair to presume that in terms of gameplay alone it’s the same 5-star design.

However, it’s still a port: the controls have been mapped to touch, it’s lost a lot of maps, it’s running on lesser hardware, and is only recommended for the latest iPhones and iPads (with ‘support’ for older devices). I’d like to know the ramifications of these factors before purchasing, especially as at $19.99/£14.99 it’s a AAA price for a AAA game; this is not Real Racing 3.

Touch Arcade’s review went up shortly after it was released for sale in New Zealand, the first country that gets an app release as it rolls out around the world. Given that limited time frame one might naturally assume the author had had pre-release access to the game and had a review ready to go with all that port-specific nitty-gritty us iOS gamers will be after.

Nope.

Eli, one of Touch Arcade’s senior members, posted on the forum about how 2K has got Touch Arcade blackballed:

JFYI 2K has us completely blackballed. We didn’t get an early copy of the game aside from what was available in New Zealand, and their marketing people don’t email us. XCOM is just a great game. These nitpicks about the port are weird.

They didn’t like that we broke the Borderlands embargo, so, the reason TA has so much coverage now while everyone else is twiddling their thumbs is because we don’t have any restrictions and can just buy the game from New Zealand. It works out.

Well, it works out if you actually post a review, Eli, but your site’s ‘review’ barely qualifies as such. Also, the fact that there are so many “nit-picks” about the port should tell you that this is an area a good review would focus on. But hey.

About that embargo: to TA’s credit the embargo they broke was for a widely-denounced iOS Borderlands game that 2K banned anyone from reviewing for nine hours after the US release presumably because they knew just how appalling it was. Ironically enough given the subject of this post TA called them on that and broke the embargo to do so, potentially saving a lot of their readers’ money. They did a good thing there.

But this post is about their XCOM ‘review’ and thanks to Eli we can now deduce how much time was spent experiencing the port before posting judgment on it. Quoting a forum user, nightc1:

So, the game came out at 6am EST and the review was posted at 10:38am EST… given time to download the game and write the review and the tutorial seeming to take around 30min (judging off of Sanuku’s video)… so maybe 30min of actual non-tutorial gameplay was used to determine the game is a perfect 5/5 with no issues? Ok, granted it is a port… but still, it makes it hard to take the review seriously.

A diligent reader would note that almost their entire ‘review’ is actually just a love letter to the PC/console game, given away by references to how he’s never been able to finish an Iron Man game (a tough mode with no save-reloading); it takes dozens of hours to play through XCOM, even longer on Iron Man mode, so there’s simply no way the bulk of this copy was based on playing the iOS version of the game. I’d wager that almost the entire thing was written without so much as a minute spent playing the final iOS release.

Right enough, there’s just a single paragraph out of ten that pertains to the port:

As a touch game, Enemy Unknown operates pretty well. The controls are intuitive. You tap to where you want to place your soldier, hit a button when you want to activate a power. The more I look at the game, the more I’m noticing bits and pieces of asset compression, which makes it look like a “low res” port. As for actual problems, moving soldiers into buildings is pretty rough. The camera doesn’t clip through walls very well.

So when it comes to looking with a critical eye at what was involved in porting the huge console/PC game down to just 3.2GB of iOS code we can boil this ‘review’ down even further to just three sentences:

The more I look at the game, the more I’m noticing bits and pieces of asset compression

The more he looks at it? Well, how much looking at has he done so far? What assets have been compressed and what effect, if any, does that have on playing the game especially on Retina devices?

moving soldiers into buildings is pretty rough.

No further information about how it’s rough or what impact it has on the experience.

the camera doesn’t clip through walls very well

No further information about what this actually means and again what it means for the overall experience.

As for the sentence about the touch controls, it may as well just say “you use your finger to touch buttons” – nothing about how well things like panning, rotating or adjusting height and map-level work, things you’ll be doing a lot of in the game.

There’s also nothing about how this long-awaited, premium AAA console game plays on anything other than the latest device (surely TA installed this onto every iDevice they could get their hands on to test performance and get the scoop on this all-important question, no? No); nothing about what’s been cut to make it fit; barely anything about graphical quality apart from some concessions to having noticed a bit of glitching “the more I play”.

Three sentences. There’s your iOS review, folks.

You’ll get a much better analysis of what makes this port tick by reading a forum thread such as Touch Arcade’s own, where the members tend to write more fully about their experiences with the game. Of course you’ll have to filter out those whining about the price or about how the textures aren’t as good as on their Vita/console/PC, and one man’s unplayable frame rate issues may be another man’s perfectly tolerable compromise, but nonetheless there’s way more pertinent information there than in TA’s ‘review’.

Finally, and allow me to just go into full-on cynic mode briefly, the headline for their ‘review’ includes ‘Buy This Game Now’ and the whole thing seems rather keen for you the reader to click their affiliated link. I already mentioned this is one of the most expensive iOS games, right?

In summary

This is a premium iOS game, hopefully one of many more to come, and it deserves a premium review of the iOS-specific elements of the port. Instead we got a love-letter to the source game and barely any useful critique.

And that’s why I don’t base purchases on Touch Arcade reviews any more. As ever I’ll be waiting for Eurogamer’s take, but in the meantime why not see what an iOS XCOM review should look like over at The Verge.

Update

In a follow-up article, TA Plays: XCOM, the team share 34 minutes of their own gameplay in a video. I’m finding that gameplay videos, while prone to spoilers, are often a better resource than unavoidably subjective text reviews so check it out if you’re interested in the game.

The TA team also acknowledge readers’ questions about playability of the game on various devices, except all they offer is that it plays great on the latest generation. As that’s what the game is officially recommended for these revelations are still pretty unhelpful, doing little to change my opinion of the thoroughness of their journalism versus the urge to get an article out now, quick, first.

Like I say above, you can get a much more professional and comprehensive look at how the iOS port handles over at The Verge.

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The music of Harry Bosch on Rdio and Spotify

Michael Connelly’s series of crime thrillers featuring LA detective Harry Bosch are amongst my favourite reads of all time, rubbing shoulders with the creations of Chuck Palahniuk, Douglas Adams, Douglas Coupland and Jo Nesbo. The books are flavoured with references to the music Harry unwinds to and it was through these references that I was introduced, ashamedly late in life, to the likes of Miles Davis, Duke Ellington, Art Pepper and more.

There’s a handy page over at Michael Connelly’s site listing the artists, albums and tracks mentioned in all his books (including the non-Bosch books), and a link to a short Spotify playlist but that only has a dozen or so tracks so I thought I’d put together a fuller version using Connelly’s list.

I’m an Rdio subscriber so I’ve done one for both Rdio and Spotify:

The Music of Harry Bosch on Rdio

The Music of Harry Bosch on Spotify

Where only artists are mentioned I’ve left them out for now until I can research the best tracks to add. There’s also some gaps due to unavailability (the elusive Tomasz Stanko, please stand up) and I’ve elected not to include a few things (sorry Rod Stewart, you’re just not my bag, baby), but with around 50 tracks there’s plenty to get your ears around.

Enjoy – and if you’d like to suggest some additions feel free to get in touch in the comments.