The process of creating a recording is complex and iterative, with many production stages between capturing sound and releasing a finished recording. Every stage in this cycle can lead to new audio creations, be they a new composition, a new guitar track, a new mix, etc. In each of these “studio events”, there are a number of metadata elements that may be important to capture. Who performed which musical work? Who played which instrument? When and where was this performance recorded? Who was the sound engineer? Which recording components (or, in studio parlance: tracks) were used to create a specific mix? And which sections of these recording components have ultimately been used?
It is only possible to attribute credits and distribute royalty payments to the correct people if the appropriate metadata is captured and communicated to those organisations that need to have that metadata. Amongst these are music publishers, record companies,and rights societies for musical works, sound recordings and performers.
The richer the data provided to DSPs, the better they can market their products. That can increase the audience and, thus, the revenue a sound recording may generate. For instance, the information that Elton John was a studio musician on some of The Hollies’ recordings would allow the retailer to include the relevant Hollies’ songs on an Elton John artist page. This may lead to Elton John fans also wishing to listen to and buy some of The Hollies’ songs.
In this context, there is a minimum metadata set that, if captured and communicated about each recording component, would drastically improve the metadata about recordings that flow through the supply chain.