They set aside a total pot for royalties, which is then divided up between distributors, record labels, recording artists and songwriters. Spotify, Apple Music, Amazon Music, Deezer, Tidal and other streaming services pay royalties in roughly the same way. “There are amazing artists working in sound design, but a lot of the stuff we’re talking about isn’t that, it’s just someone sticking a mic out of the window,” Gray said. Music Business Worldwide calculated that the operation cost $12,000 a month to make revenues of $415,000 a month for one of the playlists until Spotify deleted most of the tracks.
Gray compared the practice to an incident in 2018 when a Bulgarian operation created about 1,200 premium Spotify accounts and used them to play 500 tracks on a loop. Laura Mvula’s album Pink Noise has only 541,000 streams on Spotify, compared to 837m for White Noise Baby Sleep’s track Clean White Noise.
“It seems democratic on some level, but it doesn’t account for the actual value that the listener gets.” “Something I’ve always been very critical of is that all streams are treated equally,” said Tom Gray, the guitarist for Gomez and founder of BrokenRecord, a campaign for more streaming revenue to be paid to artists. In contrast, Laura Mvula only has 541,000 Spotify streams for the title track of this year’s Ivor Novello-winning album, Pink Noise – not a slice of somnolence but tuneful, lyrical 80s dance-pop that took her three years to make.
The lead track on Spotify’s own Rain Sounds playlist, two minutes of rainfall, has more than 100m plays.
By last Friday it had been played 837m times, worth an estimated $2.5m in royalties. Someone falling asleep to White Noise Baby Sleep’s 90-second track Clean White Noise – Loopable With No Fade on repeat for seven hours will notch up 280 plays. The economics of music-streaming mean noise-makers can cash in. Noise fans say that studying, sleeping and meditation are all enhanced by listening to these sounds at modest levels.
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