Author: Edouard Reny – August 19th, 2013
Defining in which music Library to place ones musical composition can become quite a headache for the composer new to this business area. Many factors are to be taken into account to ensure that uploaded tracks have a chance to get pitched and that the deal with the library is actually fair to the composer.
Nothing is worse to witness one´s masterpiece blocked by an exclusive contract, and consequently taking dust on a shelve, un/pitched, because the library has not the significant impact on the market one thought it had when uploading the track.
One of the numerous factors that could be useful in understanding this industry, is the internet traffic generated by individual music libraries and how and by who their respective websites are browsed.
The study presented in this paper concerns libraries which are ranked 1 to 20 in the MLR ranking system as well as those that were credited with more than 40 comments. Table 1 summarizes the results by listing The Global Internet Traffic Rank , the average time a visitor spends on the website, the rank in the US, and the three countries that bring the most visitors.
The Global Internet Traffic rank is calculated using a combination of average daily visitors to this site and pageviews on this site over the past 3 months (The site with the highest combination of visitors and pageviews is ranked #1: usually it is Google.com)
Table 1: Internet performance parameters for music libraries listed in MLR.
(NA stands for Not Available)
The question lies in how to interpret this data. The global rank represents the traffic generated by the music library website (the smaller the rank number, the higher the traffic). However, more traffic does not systematically imply an improved quality exposure to a composer’s tracks. What is important is the popularity of a site viewed from the potential pitchers, not simple curious visitors or random listeners… Another parameter to consider is the duration of the visit: longer times imply that the visitor was interested, or that the site was “sticky”, which increases chances of exposure for one’s musical compositions.
Such indicators much be taken with caution though. Some specialized libraries, well recognized and successful in their respective industry could show up with a very low rank, because only visited by true professionals. A very high ranking library might on the other hand be visited mostly by non-relevant visitors, because well marketed to the masses.
It would be very interesting to correlate these results with the experience of well-established composers that have been in the industry for a long time. If a correlation is validated, these indicators could become a complementary tool to identify which library to trust most with our precious tracks.