77.5 F
New York
Friday, July 12, 2024
HomeNewsDeezer's Musical Makeover: The Good, The Bad, And The Head-Scratching

Deezer’s Musical Makeover: The Good, The Bad, And The Head-Scratching


Related stories

Homeless Hell: The Camp That Could Kill Rock History

Sunset Studio, one of the few remaining recording studios in Hollywood after many closed due to high costs and new technologies, faces a danger worse than a single wild rock star. Sunset Sound’s three studios have produced more than 300 gold records but they could be ruined by a filthy homeless camp next to the building. Garbage is stacked high, needles and pipes are scattered on the ground and homeless people use the street as a toilet.

TikTok vs Universal Music and The Music Businesses Coming of Age

Well, it’s definitely been an interesting few weeks, looking across the ballfield of TikTok vs Universal Music. What is heartening to see is that major labels such as Universal Music seem to have finally learned from previous mistakes made initially in the 1980s. 

Unleashing Chaos: How To Get Free Music- And Why The Music Industry Can’t Stop It

The same platform that brought you cat videos and cringe-worthy influencers is now the go-to place for snagging every song imaginable. Thanks to some clever websites, you can rip the audio from any YouTube video, download it as an MP3 or .wav file, and sail the seas of free music. No subscriptions, no ads, no hassle.

February Round-up: Four music events to attend

Winter holidays have passed quickly, and there are the...

Pitchfork Effect

Last week, media company Condé Nast revealed its plan...

The recent Universal Music Group-brokered deal with the French music streaming service, Deezer, has been the subject of much debate. Martin Mills of Beggars Group, Darius Van Arman of Secretly Distribution, Stephan Bourdoiseau of Wagram Stories, and Emmanuel de Buretel of Because Music joined forces in a post in Music Ally that confronts the pros and cons of the user-centric versus pro-rata streaming models.


The “user-centric,” and it’s supposed to be the golden ticket to a fairer, more transparent music industry. But is it really a game-changer or just another flop we’ve heard before?

Before we get into the nitty-gritty of Deezer’s grand plan, let’s talk about the current champ, the pro-rata model. You know, the one where they throw all the money into a big pot and divvy it up based on who’s getting the most streams. It’s simple, it’s predictable, and it’s the way most streaming services like Spotify and Apple Music do business. But it’s also about as fair as tossing a two-headed coin.

Let’s take a quick look at the two models.

First up, the pro-rata model. The pros? Well, it’s easy-peasy to implement and keeps things stable like a reliable old horse. Plus, it’s a cash cow for the big-name artists who already have stadiums full of fans. They’re making bank. The cons? It’s a raw deal for the underdogs, the indie artists with more passion than streams. And it’s about as efficient as a leaky roof when it comes to rewarding quality and diversity in music.

Now, onto Deezer’s big idea (or is it UMG’s) – the user-centric model. In this wild ride, your subscription money goes directly to the artists you’re bopping to. No more pots, no more divvying up. Sounds like a dream, right? Well, hang on, because dreams can be nightmares too.

The upsides? It’s like music democracy, giving power to the people. You pay for what you love, and indie artists get a fairer slice of the pie. But here’s the twist – it’s so complex and costly to pull off that you might end up paying more just to understand where your cash is going. And don’t get too comfy with your favorite artist’s financial stability, because under this system, their paycheck’s got more mood swings than a 14-year-old teenager.

Deezer’s user-centric model isn’t exactly a picture of perfection. It’s a bold experiment, sure, but it’s also like tossing darts in the dark and hoping to hit the bullseye. As Deezer’s CEO Hans-Holger Albrecht aptly put it: “It’s not a magic bullet.” In fact, it’s more like a magic eight-ball with all the answers missing.

Whether you’re Team Pro-Rata or Team User-Centric, one thing’s for sure – the music industry is still trying to find its way in the ever-changing digital age. Deezer’s got the courage to step onto the stage, but we’ll have to wait and see if they’re the rockstar saviors or just another opening act in the grand scheme of streaming.


  • Wayne Rosso

    Wayne Rosso has worked in music and technology for decades. He has worked with such artists as Aerosmith, Bee Gees, Crosby, Stills & Nash, Public Image LTD., Beach Boys, Phillip Glass, Fleetwood Mac, Rick James, New Kids on the Block, Slash, Evanescence and scores of others.


- Never miss a story with notifications

- Gain full access to our premium content

- Browse free from up to 5 devices at once

Latest stories



Please enter your comment!
Please enter your name here