Daniel Ek earned more from Spotify in the past 12 months than any artist has ever earned on the platformSpotify CEO and founder Daniel Ek earned more money from the platform in the past 12 months than any other artist ever has, reports royalties accountant Hunter Giles — and Ek’s closest executives aren’t far behind him, either. Taylor Swift, Drake, Billie Eilish, Ed Sheeran, and literally any other megastar you can think of, haven’t been able to top the $345 million dollars Ek has roughly made since last year.

READ MORE: “Enough’s enough”: deadmau5 threatens to pull music from Spotify following Daniel Ek “cost of creating content” comments

In his IC Newsletter, Giles breaks down the cashout values of Spotify executives’ shares, and equates those earnings to the number of streams each exec would need to gain to accrue the sum. Giles adds that he made the comparison using the “generous” value of $0.003 per stream and “assumed 100 per cent control over the IP in the comps ([which is] never the case).”
Daniel Ek takes the top spot, cashing out a total of $345 million in shares since July 2023, which is equal to gaining 115 billion streams, hypothetically making him the number-one top-streamed artist of all time on the platform. As a comparison, Statista reports that Taylor Swift is the most-streamed real artist on Spotify, with 76 billion all-time streams as of April 2024.
Second place to Ek is Martin Lorentzon, co-founder of Spotify, whose shares are valued at $166.8 million — equal to 55.6 billion streams. This would hypothetically make him the ninth most-streamed artist of all time. Alex Norström, co-president at Spotify, is third in the ranking with a share value of $26.4 million, equal to 8.8 billion streams and placing him at 185 in the most-streamed artists of all-time.
Giles’ comparison was inspired by an MBW article reporting on Lorentzon’s recent cash-out of $85.8M in shares and the recent news that songwriters are set to face $150 million in royalty cuts from Spotify in 2024.
However, Giles says his analysis is not intended to vilify or shame the executives at Spotify. “I personally don’t think that Ek and the Gang are ‘good’ or ‘bad’ as people,” he says, “and the point of this isn’t to shame them…The bad actor here imho [in my humble opinion] is the same as always: misaligned incentives that fail to appropriately share the wealth amongst stakeholders, AKA late-capitalism. These people are just doing a good job of hitting the misaligned marks, and I don’t feel it’s true or useful to think of them as evil geniuses out to steal money from artists.”
Daniel Ek hasn’t taken home a regular salary since 2017, according to Spotify’s filings, and Fortune reckons he was “probably one of the worst-paid major tech CEOs last year” but did receive $ 1.4 million in “other compensation.”
In other recent news, Ek confirmed in July that a new “deluxe” tier of Spotify is set to arrive soon, complete with high-resolution audio quality.
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Cobra Fuzz plug-in from Safari Pedals Safari Pedals' latest software effect packs a versatile range of sounds into a simple and intuitive GUI.

OpenAI has a ‘highly accurate’ tool to detect AI content, but no release plansThe company expressed worries that its detection system could somehow “stigmatize” the use of AI among non-English speakers.

From golf to hunting, a new crop of startups want to make these experiences even betterCOVID-19 pushed people to take up outdoor activities. Now, startups are helping companies and consumers keep up with demand.
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Your ESP32 As A USB Bluetooth DongleUsing Bluetooth on a desktop computer is now such a seamless process; it’s something built-in and just works. Behind that ubiquity is a protocol layer called HCI, or Host Controller Interface, a set of commands allowing a host computer to talk to a Bluetooth interface.  That interface doesn’t have to be special, and [Dakhnod] is here to show us that it can be done with an ESP32 microcontroller through its USB interface.
The linked repository doesn’t tell us which of the ESP32 variants it works with, but since not all of them have a USB peripheral we’re guessing one of the newer variety. It works with Linux computers, and we’re told it should work with Windows too if a HCI driver is present. We might ask ourselves why such a project is necessary given the ubiquity of Bluetooth interfaces, but for us it’s provided the impetus to read up on how it all works.
We can’t find anyone else in our archive who’s made a Bluetooth dongle in this way, but we’ve certainly seen sniffing of HCI commands to reverse engineer a speaker’s communications.

Soundspear Updates Formula and Makes 50+ Audio Effects FREE
Soundspear has updated Formula and made more than 50 audio effects available for free for the audio effects integrated development tool. Formula is a free and open-source plugin for Windows, macOS, and Linux, and it is available in VST3, AU, and standalone formats. Previously Soundspear offered the Formula Cloud paid subscription service, which included access to [...]
View post: Soundspear Updates Formula and Makes 50+ Audio Effects FREE

All The Air Ducting Parts You Could Ever NeedIf you have ever planned an air duct or dust extraction system for your shop, you’ll know just how difficult it can be to accommodate all but the simplest of arrangements. Off the shelf systems are intended for use in home heating or other domestic systems, and offer little flexibility of choice. Of course you could 3D print an adapter or two, but [Fabian] has taken it to the next level with a comprehensive library of 3D-printable pipe system adapters and accessories. We’re not sure we’ve seen such a complete collection.
The pipes are mostly at 125 mm diameter, with the full array of elbows and joints, alongside adapters for fans and smaller pipes, and different splitter options. It becomes particularly interesting in the accessories department though, because he’s also made a set of smart addons, packing ESP32s for sensors, and even valves.
It sometimes shocks us to go into hackerspaces and see nothing in the way of extraction around tools that really need it. Airborne smoke and particulates are a proven hazard, and thus we like this project a lot. If you don’t have adequate ventilation or extraction on your bench, consider printing yourself a solution. Take a look at how one hackerspace did it.

Casio introduce CT-S1-76 keyboard The CT-S1-76 delivers a 76-key version of the popular CT-S1, and uses Casio's AiX Sound Source technology to deliver faithful reproductions of a range of different instruments. 

Forget about Ethereum ETFs — Here's what you can do insteadSpot Ether ETFs were supposed to set the gold standard for ETH investing. Unfortunately, they still aren't allowed to offer staking.

Getting It Done: Last week in D.I.Y. & Indie MusicLast week, our tips and advice for independent, do-it-yourselfers covered how to promote music with Instagram Reels, how often to post on social media, and more.
The post Getting It Done: Last week in D.I.Y. & Indie Music appeared first on Hypebot.

REWIND: New Music Industry’s Last Week in ReviewCatch up on what everyone in the music industry was talking about last week, with MediMusic transforming healthcare; a report revealing songwriter stats, and more…
The post REWIND: New Music Industry’s Last Week in Review appeared first on Hypebot.

Warren Buffet’s Berkshire Hathaway sells half its Apple stockWarren Buffett’s Berkshire Hathaway cut its Apple holding by around half, to $84.2 billion, according to an SEC filing. While Apple remains the firm’s largest stock holding by far, Buffett had already reduced its stake by 13 percent earlier this year, hinting that he didn’t mind selling “a little Apple” for tax reasons. Berkshire Hathaway […]
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Steam Deck, Or Single Board Computer?With a number of repair-friendly companies entering the scene, we have gained motivation to dig deeper into devices they build, repurpose them in ways yet unseen, and uncover their secrets. One such secret was recently discovered by [Ayeitsyaboii] on Reddit – turns out, you can use the Steam Deck mainboard as a standalone CPU board for your device, no other parts required aside from cooling.
All you need is a USB-C dock with charging input and USB/video outputs, and you’re set – it doesn’t even need a battery plugged in. In essence, a Steam Deck motherboard is a small computer module with a Ryzen CPU and a hefty GPU! Add a battery if you want it to work in UPS mode, put an SSD or even an external GPU into the M.2 port, attach WiFi antennas for wireless connectivity – there’s a wide range of projects you can build.
Each such finding brings us closer to the future of purple neon lights, where hackers spend their evenings rearranging off-the-shelf devices into gadgets yet unseen. Of course, there’s companies that explicitly want us to hack their devices in such a manner – it’s a bet that Framework made to gain a strong foothold in the hacker community, for instance. This degree of openness is becoming a welcome trend, and it feels like we’re only starting to explore everything we can build – for now, if your Framework’s or SteamDeck’s screen breaks, you always have the option to build something cool with it.
[Via Dexerto]

Homebrew Relay Computer Features Motorized ClockBefore today, we probably would have said that scratch-built relay computers were the sole domain of only the most wizardly of graybeards. But this impressive build sent in by [Will Dana] shows that not only are there young hardware hackers out there that are still bold enough to leave the transistor behind, but that they can help communicate how core computing concepts can be implemented with a bungle of wires and switches.
Created for his YouTube channel WillsBuilds, every component of this computer was built by [Will] himself. Each of the nine relay-packed protoboards inside the machine took hours to solder, and when that was done, he went out to the garage to start cutting the wood that would become the cabinet they all get mounted in.
The entire build process is documented in the video, and is interwoven with short segments that go deeper into the various concepts at play. If you’ve never been able to figure out how a box full of relays can add numbers together, this might be the video that finally makes it click for you (no pun intended).
We were particularly impressed with [Will]’s determination to not let any modern technology sneak into his build. When researching other relay builds, he found that some of them relied on anachronistic components like the 555 timer or quartz crystals to generate the clock signal. That simply wouldn’t do, so he initially tried to put together a variation of the clock circuit that [Paul Law] used in his gorgeous relay computer. In the end he couldn’t quite get it working the way he wanted, so he went really old school and came up with a clock module that uses a motorized cam and microswitch to generate the necessary pulses.
In the era of the 10 cent microcontroller, when it’s often easier to write a few lines of code to get something working than figuring out how to do it with discrete components, this project is certainly refreshing. Especially when it’s coming from a younger maker. [Will] definitely came away from this build with several new skills under his belt and a new appreciation for concepts that many of us take for granted these days, and we’re looking forward to seeing what he comes up with next.

Why indie labels are mastering the art of reissuing musicArthur Verocai, Mary Clark, Gloria Ann Taylor, William Onyeabor, The Supreme Jubilees, — all artists that, before recent reissues, you’d likely never heard of. Thanks to the relentless devotion of independent labels and crate diggers, these artists and countless others have seen a second wave of renown and success. With their music being remastered and redistributed, these old-school gems have found their way to DJs, dancefloors and streaming algorithms, which are letting them shine decades past their original release.

READ MORE: How will young people learn music and production in a post-AI music industry?

Reissuers spend countless hours securing audible gold to democratise access to PVC slices of tropical cool; music from far off lands that would only exist with exorbitant price tags, if available at all. If done right, reissuing contextualises the music and the culture it originates from – distributing revenue fairly and ultimately bringing new attention to deserving artists.
This, however, is no easy job. So, here, we learn from some of the most interesting reissuing labels around, the artists who’ve benefited from the process, and an award-winning audio technician who’s remastered and pressed much of this work to glossy new vinyl.
The process
“There’s always a story, and never an easy licence”, says Kevin Griffiths, who founded the wonderfully eclectic Isle of Jura Records in 2016. First, you choose a piece of music that deserves to be more accessible. Next, through a lot of “mundane detective work” you find the best quality physical copy you can and contact the licence holders – preferably the artist and original record label but, failing that, the producer, writer, or artist’s next of kin. From here, you work out a licensing arrangement; commonly five years of streaming, plus the remastering, repressing, and distribution of newly-pressed physical media.
Some reissues come together easily, such as Parisian Afrobeat and Afrofunk label Hot Casa’s reissue of Benin singer Stanislas Tohon’s killer 1985 four EP Owhaaou…! — as the French label had mutual connections with Stanislas. Others… not so much. Julien Le Brun, the label’s founder took seven years and eight or so trips into Togo to make its Togo Soul 2 compilation, a 13-track treasure-trove of rare and unusual music from the West African state.
A successful reissue often relies on strong personal connections and networks to find the original physical media and the original artist or label. Hot Casa’s musical connections, as well as the shared culture and language between France and its former colonial subjects in sub-Saharan Africa, are vital assets to founder Hot Casa’s reissuing catalogue.
Napo de mi Amor, an artist whose music was reissued by Hot Casa for their ‘Togo Soul’ compilation series.
When mutual connections aren’t present, it gets tricky. The quest to find the original creator of great music has even led Isle of Jura, based in Australia, to hire a private detective to hunt down the original creator of a record that has never had a full release, from 1982 New York.
Griffiths says he was introduced to the PI through a friend at another label who’d also used his services. It’s “unusual” for the label to go down this route, and this was the only time Isle of Jura had done it, but all other avenues were exhausted and there was little info online. Although he was successful in finding out who the artist was, they’d unfortunately passed away. Griffiths managed to find a family member, but at the time of writing, no licensing agreement has been arranged.
Even when you find the original creators, it isn’t certain that it will result in a reissue. After many hours, Hot Casa tracked an artist who wouldn’t give the rights over on religious grounds, as they became a devout pastor. The label has over 20 pieces of music they want to reissue but can’t because they either can’t find the person or said person won’t give permission.
The ethics
The benefits that reissuing provides to the original artists, both artistically and monetarily, are undeniable. Although some relationships between label and artist are inevitably shaped by the historical legacy of colonialism, the original artist still benefits greatly and withholds all artistic licence and responsibility. The benefit may be mutual, but it is far from exploitative; it’s symbiotic.
However, we can’t ignore streaming platforms’ insufficient contribution to original artists or labels. Josh FB from Discoteque Tropicales, a London-based brand specialising in Zouk and other classic French African dance music, adds that, despite the significant reach streaming can provide, this isn’t “sufficient to support artists”. Purchasing digital copies of music, if and when possible (particularly off Bandcamp, where fans have paid artists and their labels $1.3 billion to date), is still, and probably always will be, better than listening on streaming services.
Ronnie Lion x Isle of Jura
When considering the circumstances, however, even limited income from streaming is better than nothing — which may be what these artists would receive if their music stayed locked in insular markets, and only available on physical media; and this is before we consider any future potential revenue this new-found audience could provide through vinyl sales and concerts further down the line.
Reissuing is a positive force economically. Culturally, however, there is a fine line to tread; like timeless art or historical objects in museums, care must be taken to properly contextualise the artist and the art to pay homage to their work and the culture that created it.
It wasn’t made in a vacuum — and a reissue is merely a reflection of the powerful work already done by someone else; the limelight is theirs. Focusing the story on this, rather than picking it up from where and when the label found it, is essential to not whitewashing art and erasing the culture that made it. This should be as much of an act of historicising and story-telling as remastering, marketing, and distribution.
Sound quality
Some audio purists debate about reissues, often claiming that they’re not reproduced from analogue source material and, therefore, are of lower audio quality.
There is some truth to this. It’s unlikely you’d find the original lacquer cutting of an old recording, especially rare productions from developing countries. However, the reason the quality may be poor isn’t due to digital technologies poisoning the analogue process – particularly in this context.
Digital doesn’t necessarily mean worse. In fact, we’ve never had access to better-sounding material thanks to all the digital tools that can complement the work done by analogue workhorses. This “wasn’t true in the 90s” due to limited technologies and “flawed” CD formats, says Frank Merritt, leading technician and owner of The Carvery – a multiple Grammy-nominated vinyl cutting and mastering studio in East London. But it certainly is now. “It’s all contextual, and a hybrid approach is best.”
Frank Merritt of The Carvery.
Access to the original master copy, if made by a purely analogue process and if stored in perfect condition, would likely create the best copy reissue. Since this is far from likely, however, the best quality reissues today are made via hybrid technologies. Merret says that digital tools can remove “80 to 90 per cent of clicks to clean up a damaged physical copy” – a real asset for potentially damaged physical media.
The main pieces of tech Merret uses for reissues are the following, although he stresses he doesn’t always need them all:

Neumann W492 and W495B equalisers
Maselec MTC-1X Mastering Transfer Console
Thermionic Culture Phoenix tube compressor
Maselec MEA-2 equaliser
Klark-Teknik DN-50 reverb
Gyraf Audio Gyratec XXI Magneto-Dynamic Infundibulum multi-band analogue soft clipper
CEDAR restoration software
iZotope RX

All things considered, putting new material to wax is best done via analogue. There have been cases of big labels skimping on quality for profit – which led the excellent folk and country duo Gillian Welch and David Rawlings to press their own cuttings following the Dutch label Music On Vinyl using a CD source to make “poor–sounding” vinyl copies of Ms. Welch’s 2003 album Soul Journey.
“What people do nowadays is take a digital file and just run vinyl off that,” says Rawlings. “In my mind, if we were going to do it, I wanted to do it the way the records I love were made – from analogue tapes.” So, in 2000, the pair spent $100,000 on their own record-cutting lathe to make sure the labels pressed analogue-sourced material.
Reissues shouldn’t be held to the same standards as a new, original pressing. The remastering process for a reissue is just doing the best it can to improve flawed copies of old music which can’t be re-recorded, and which otherwise wouldn’t be heard at all.
As Zag Erlot, the man behind the hit YouTube channel and mix series My Analog Journal, says: “When you know the reissuing label won’t disappoint, I cannot see a reason why anyone would spend hundreds, if not thousands, on an original pressing that is probably not going to be in great condition. At the end of the day, a DJ shouldn’t play a tune with lots of crackles.”
The people behind the music
We should be grateful, then, to those who undertake the mammoth task of a successful reissue. It’s an act that can mean far more than may appear at first glance. Yes, previously unheard and unappreciated music can now grace more peoples’ ears and the turntables of enthusiasts, but what’s more beautiful is that new life that can be given to original artists following a successful reissue.
Sometimes, this simply reignites a passion; a wonderful thing when four decades or so after your work, someone tracks you down and wants to invest in your art and spread it to new listeners.
Other times, it starts a chain reaction worthy of a biopic. Reissues have shone a light on genius artists, who are now perhaps forgotten and stuck in everyday drudgery – inspiring a second wind in their musical career. Sometimes, this even results in new music and tours decades after their original creations.
This is best summed up by Discoteque Tropicales, whose killer reissue of Guadeloupean Manix’s 1988 EP Voyager, inspired the artist to say: “Now in my 70s, what a joy it is to discover my songs are being loved in new parts of the world that I could never have imagined them spreading to in the mad 80s. A reissue is like a renaissance, a second wind that reaffirms my belief that both music and love will never die.”
Discotheque Tropicales with Manix following his reissue
One particularly impressive story is Who is William Onyeabor?, a 2013 compilation album by William Onyeabor released by Luaka Bop. This was the first official reissue of the artist, who was widely heard in Nigeria in the late 70s and early 80s, but remained reclusive and had little influence outside of his home country.
Following the reissue, William found a new international interest in his music. In 2014, Noisey released Fantastic Man, which documented Onyeabor’s legacy as well as Noisey’s attempt to track him down for an interview. His song Fantastic Man was also featured in a television commercial for Apple’s iPhone 7 Plus in 2017, as well as a 2023 commercial for H&M. Onyeabor died at his home in Enugu from natural causes in 2017, aged 70.
The consequences
Pioneering artists, particularly from the broad musical umbrella of Afrobeat and Afrofunk, made (and still make) timeless music – but it’s often unavailable to those outside of their regional markets. Through significant effort, investment, and time taken, reissuing labels and their remastering engineers change this.
So, let’s salute the record hunters trawling through dusty boxes in far-off lands or those closer to home. They take the time to find lost gems, restore their natural shine, and democratise access, so everyday people like myself can feel the warm glow of cool success as we get a rare record out and place it gently onto the platter.
The post Why indie labels are mastering the art of reissuing music appeared first on MusicTech.