Facebook’s Audio Fingerprinting: Good News, Bad News, or Both?
Facebook’s music tagging service that was introduced last month for mobile users in the US has caused quite a stir for those concerned online privacy, and not without good reasons, but today we look at how it will affect musicians and the digital media industry. The Shazam-like feature that activates a mobile device’s internal microphone to record and identify music and background sounds when a user composes a status update has been flagged as an egregious invasion of privacy for some, while at the same time, has been welcomed by performance rights organizations (PROs) for it’s capacity to police copyright, control infringing content, identify songs performed online and collect more royalties. So what should we think about this new feature?
While Facebook points out that the feature will only be active when users ‘opt-in’, and even in these cases, the microphone is not always on. In fact, only 15 seconds of audio is recorded while a post is being made and this audio is apparently not stored in any records. Additionally, Facebook claims any information that is collected is completely anonymous, and the goal is to let users post about what media they enjoy and to encourage fans to share music from their favourite artists. In this sense, audio tagging is said to be an extension of the feelings and activity sharing option which Facebook introduced last year, and has since been used by over 5 billion posters. What’s more, once a piece of audio has been identified and tagged, the user’s friends can listen to a preview of the song or see a link to the TV show, a function that will surely please media content owners (at least those who have their content registered with Facebook’s media database).
So what does this all mean? Well, we know that sharing media in a Facebook status will likely drive engagement and reach for those artists whose music is tagged, and the 30 second preview that uses API’s from Rdio, Spotify and Deezer (any longer and Facebook would have to pay out royalties) can be a great tool for music discovery within the largest social network. But is this really the goal, or is this an attempt to bring the social discussions on music, entertainment and sports which largely take place on Twitter, back to Facebook? Or maybe it’s a scheme by Facebook to break into the audio identification and music sales market, and cut out the middlemen like Shazam or Soundhound? Furthermore, the data that IS recorded with this feature is in fact quite valuable to music marketers, record labels, managers or anyone who is interested in tracking which music is popular, consumer listening habits, and targeted advertisements, thus constituting yet another lucrative revenue stream for Facebook.
Regardless of explicit or hidden intentions, for musicians this means a whole new way for fans to identify songs, share them with friends, and purchase their favourite artists music. While the millions of songs and TV shows (available in the US only) in Facebook’s media database is still relatively small when compared to the over 25 million songs in Shazam’s catalogue, this number can be expected to grow substantially in the coming months and years, especially as this feature is extended to more territories in Europe and Asia (two of the world’s largest music markets). Any labels or artists who intend on keeping up with useful and innovative technology to help make money from their music and otherwise pay their bills, should seriously consider registering their own songs with Audible Magic - the audio fingerprinting service used by Facebook, Vimeo, and Soundcloud to identify media content.
For a preview of Facebook’s audio tagging feature in action check out the video link below.
http://vimeo.com/95970002Â
For more info on how to register your music with Audible Magic’s content management system follow the link: