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Before we begin today' s episode, I' d like to apologize,

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as the audio you' re listening
to this week may not be the usual

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one. Perhaps you hear from the
background a little noise, and I am

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recording around a chimney a burning fire
to withstand the cold days of February of

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the year two thousand twenty- four. But hey, I' m getting

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the taste of recording immobility next to
a wood. Warm. Hottie, hottie.

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Here, rubbing the tapes, I' m back to being George of

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the present. Well, the Jorge
of the past when you' re listening

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to this, but the Jorge of
the present, because I am the one

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editing the chapters that he records last
week to this is my usual audio and

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it is that I forgot to comment
that this same Friday we have the second

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ponda in Madrid of this two thousand
twenty- four and that you can still

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do with your tickets to come to
see Sayonar Baby live. And now you

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do. I' m leaving today' s episode and I' m going

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back to that warm fireplace where you
could hear me. We welcome you to

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the other side of the microphone,
the microphone, a project by Jorge Marín

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Nieto in which you will find your
daily ration of metapodcasting, casting with news,

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events, tools or episodes of opinion
in just ten minutes. Ten minutes,

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ten minutes. Today is 27 February
of the two thousand twenty- four

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and I welcome you to the episode
nine hundred and thirty on the other side

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of the microphone, a perfect episode
to continue exploring together all the ins and

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outs of podcasting with a new news, recommendation, tool Council and, in

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short, everything that crosses my path
of the metapodcasting that surrounds me. I

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am Jorge Marín and as every day, in just ten minutes, I want

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to talk to you in this case
of Spotify, since it has made a

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decision that will serve me to reflect
a little bit on its relationship with podcasting

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and why we should be a little
bit careful. This episode comes to you

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thanks to the sponsorship of the fife
Cast platform, an audio platform or podcasts

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of exactly five minutes, to which
you can join entering Fifks, to which

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you can join if you enter Fifecast? It is either to upload your content

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there, or to discover a lot
of creators who already upload their episodes or

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part of their episodes to this platform. Many to this platform Many, I

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hope many thanks to the colleagues of
Fifecass for their support. Month by month

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on the COFFY platform, as I
was saying today, I want to talk

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to you about Spotify, because lately
it has made a decision that well,

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maybe it doesn' t directly affect
us, because it' s mostly more

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intended for audio or music creators.
Now you will see what I mean,

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not so much about podcasts, but
it will serve as an example, because

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to reflect a little on the role
of this great company in podcasting in recent

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months, years and above all,
in the coming months. And this news

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came to me thanks to the news
letter of three by three, a news

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letter focused on the creation of digital
audio, to which you can subscribe also

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in the notes that you find in
today' s episode. In addition to

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this subscription, you can find the
original news, rather, the original press

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release that Spotify published about these changes. And it' s that Spotify is

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going to stop paying for artificial streaming. What do you mean by this artificial

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streaming thing? Well, it'
s that Spotify has decided to introduce from

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this year, two thousand twenty-
four, a substantial change in its pay

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- per- play model to the
songs they listen to on their platform.

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It aims at two objectives. To
improve little is to improve the income of

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artists and record labels and to combat
the bad practices of those who use bots.

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And sound tracks to generate artificial revenue. These modifications are the following that

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tracks, songs, tunes, that
good audio files that have less than a

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thousand reproductions in a year, will
not receive royalty payments. But in return,

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that money is going to be used
to improve the payment of tracks that

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get more than a thousand listeners.
If you have less than a thousand listeners,

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you won' t get anything.
If you have more than a thousand

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listeners, you' ll get a
little more. In addition, a fine

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of$ 10 will be imposed for
each violation on stamps or distributors with songs

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whose reproductions are 90 percent fraudulent by
bots. Finally, a new third rule

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is that sound tracks in quotation marks
must last at least two minutes to receive

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royalties, that is, to receive
rewards, to receive a financial reward,

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and each reproduction will be worth twenty
percent of what a song' s play

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is worth. According to the original
or official information that Spotify distributed, these

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changes will not have a major economic
impact. Only a zero comma five percent

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of the profits are affected by tracks
with less than a thousand reproductions, something

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like forty million dollars. The context
of this good news, then, is

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that the situation of the music industry
let' s say it' s even

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better compared to other cultural industries,
directly, in this case it' s

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very good. But, however,
income growth is beginning to slow down and

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the price of recovery seems quite high. Recordings with Warner and Universal at the

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helm raise the need for a new
income- sharing scheme, but Spotify platforms,

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the first of them, present lean
or directly lost profits. The redesign

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of royalty distribution with artists at the
center involved in disir and Spotify is an

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attempt to respond to these demands,
although it will not be enough. Dismissals

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in Universal, for example, for
two thousand twenty- four, show a

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clear situation. Let' s say
a recalculation, a readjustment. In all

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this, the rate of growth decreases, the new income- generating scheme does

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not appear and the new players in
the value chain are not willing to increase

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payments. Here they bring us a
graph that, indeed, shows us how

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this creation of new income is slowing
down and this distribution, because every time

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it is, I would not say
in decline, but if we say,

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it has stagnated, the meaning of
these changes has stagnated. Well, then,

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the new payment system that Spotify brings
reveals the present and future risks of

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the music industry on the digital stage. On the one hand, that turnover

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is growing, okay, but hardly
anyone is happy. Neither the artists,

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for whom the European Union calls for
better and greater retribution, nor the giants

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of record companies, let alone the
audio platforms. Be it here, no

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one' s happy. The flow
of money doesn' t satisfy all the

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stralabones of this digital audio chain.
On the other hand, the uncertainty about

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the eruption of artificial intelligence, its
use to create songs that add up to

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reproductions outside the mayes scheme and the
frauds of automated reproductions are erected as a

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bleeding wound of this entire model of
the music industry, not to say of

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the sound industry, because here we
are not only talking about songs, but

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also about sounds, like the one
I told you about a few weeks ago

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of people raising white sound, white
noise to help other people sleep clear this

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white sound. This white noise is
very easy to generate and, as it

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has many reproductions, because there are
many people looking for it. That makes

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people who barely work take enough money
and to fight them precisely because they have

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created new schemes like these. Spotify' s responses seem a little shy,

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but you don' t guess a
solution either. Let' s say bottom

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line. The only thing clear is
that the labels are determined to seek new

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income from other sources. Of course
this helps me to tell you if this

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is happening with the musical artists that
are affected by the changes that Spotify has

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made or that Spotify is going to
make to, on the one hand,

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cover their backs, but, on
the other hand, to prohibit other people

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from taking advantage of the tools that
have predisposed them to also generate money.

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It' s good for me to
bring him to our land, to lure

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him to the podcasting grounds. And
it is that you will all remember Many

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years ago, when Spotify and some
other platforms like iTunes, took control of

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the music industry, it was unthinkable
that everyone, or almost everyone, would

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listen to music streaming. Today,
this is the usual. Nowadays it'

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s normal. They have been made
directly with the heel- based market,

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based on bringing new tools and by
bringing new improvements. It must be recognized

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now. Almost no one buys CDs, or buys vinyls or revolution tapes.

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No one consumes audio, let'
s say, in an analog format.

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Everyone consumes in digital format and especially
in streaming. Of course, this has

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made Spotify say not that it has
a monopoly, but there are practically other

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platforms Google Music, YouTube Music,
Apple Music. Okay. Anyway, you

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know what I mean isn' t
a monopoly okay, but that' s

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pretty much what' s going on
with podcasts. If you remember, years

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ago it was the great records that
had the dominance of the music market and

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now it wasn' t. Now
all artists have to go through the hoop

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of this these stream services Today,
if you are an artist and you are

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not in Spotify, you have it
frankly very difficult. And this is what

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has been going on for a while
now with podcasts. Spotify, since it

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started with its podcasting bet, has
been implementing increasingly attractive improvements for podcast creators

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and now the vast majority of us
have our podcasts there. It doesn'

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t mean we all stay there,
but if we' re not in Spotify,

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we have a little bit harder.
This is what scares me and why

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I bring this episode. Here now
we have seen how Spotify has gone every

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time we say. I don'
t know if the word would be mistreating,

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but I do neglect everything he offered
musical artists. Unless you' re

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a super pointer artist, it'
s very difficult for you to make a

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living just with Spotify reproductions. And
of course, little by little, because

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Spotify is cutting, It' s
cutting, it' s cutting, it

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' s getting worse And no and
don' t hate to do anything but

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assume it, because it' s
what there is, what Spotify tells you,

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it' s what you have to
do. You can' t reveal

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yourself and you can' t run
away from this platform, because that'

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s where everyone is. And this
is what I want to avoid. As

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for podcasting, now, fortunately,
we still have many more sites to upload

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our content from where to expose our
content. But if we let Spotify keep

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doing it with podcasting control in general, what will happen when it starts to

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cut us off and on top.
This is pretty funny, because Spotify just

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literally gives us nothing to I don' t know eighty- five ninety-

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nine ninety- five ninety- nine
percent of podcast creators It' s us

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who give away all our content there. While it is true that we can

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take advantage of that exhibition and gain
sponsorship and visibility, etcetera, etcetera,

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etcetera. How many of you get
paid by Spotify for reproductions, because I

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think if you put on the table
all the data from Spotify How many original

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Spotify podcasts do they charge for uploading
their content there, very little? How

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many podcasts have signed a monetary agreement
with Spotify, very little, to say

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the least, except for its ten
twelve fifteen annual creations. How many podcasts

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are up to date in Spotify.
It' s a crushing majority. That

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' s why I want you to
reflect a little bit before selling your content

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in quotation marks for free to any
of these massive platforms and, above all,

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analyze the consequences that in the future, when they start making cuts,

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and I' m not talking about
economic cuts, but maybe, in a

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while, if your episodes don'
t have more than a thousand reproductions,

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then maybe Spotify eliminates them directly at
best. If your podcast doesn' t

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have a hundred and five hundred zero
subscribers. They only leave you six months

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of history or one year of history, which is unthinkable for podcast content.

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But if in the end Spotify decides
to do it, we' ll see

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how it decides to make these changes
sorry, we' ll see it as

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normal, because that' s what
we have to stick to, because that

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' s what the big dominant company
has marked like this and I, personally

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don' t want this to become
a reality. That is why we need

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to think very carefully about where we
upload our content and what we do with

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it. Just a reflection from this
side of the microphone. Under my experience

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throughout all these years, if you
remember I told you a long time ago

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about a sad episode with the blip
TB company, which decided to completely eliminate

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everything that had to do with podcasting
on its platform. And many of us

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were affected because we saw our podcasts
literally disappear from the platform par excellence,

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because I had directly seen podcasting there
as it weighed heavily, cost him a

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lot and didn' t think twice. Listen to all these podcasts are going

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to disappear from here because blick Tv, as its own name indicates, was

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more designed for the video and not
for the audio. But, well,

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I invite you to listen to this
episode. I' m going to leave

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it attached also the knots of the
chapter for you to listen to and analyze

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a new page of the podcasteral archaeology
that I told you about a few weeks

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ago and now I say goodbye.
And as every day I go back to

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that place where you are right now, across the microphone,