{"id":2269,"date":"2021-09-29T21:00:00","date_gmt":"2021-09-29T21:00:00","guid":{"rendered":"https:\/\/byta.com\/blog\/?p=2269"},"modified":"2023-11-29T04:09:39","modified_gmt":"2023-11-29T04:09:39","slug":"digital-blues-the-day-to-day-challenges-of-music-sharing-storage","status":"publish","type":"post","link":"https:\/\/byta.com\/blog\/insights\/digital-blues-the-day-to-day-challenges-of-music-sharing-storage\/","title":{"rendered":"Digital Blues: The Day-to Day Challenges of Music Sharing \u2013 Part III \u2013 Storage"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">Part III &#8211; Music Storage<\/h2>\n\n\n\n<p>\u201cFive years ago, I was obsessed with changing metadata,\u201d says Miles Anzaldo, the Music Director of Los Angeles radio station <a href=\"https:\/\/en.wikipedia.org\/wiki\/KROQ-FM\">KROQ<\/a>. Like most music professionals (and fans) with vivid memories of the pre-streaming era, he remembers the days when he actively tended to his digital music collection, but over the past few years, that interest has faded away. \u201cIf I find myself in a situation where I want to store something, I still use iTunes,\u201d he says, \u201cbut I don\u2019t even really use that much anymore.\u201d At one point, his external hard drive with all of his music died, and while there was a time in his life when that would have been devastating, Anzaldo now says, \u201cI didn\u2019t find myself that heartbroken over it, because music is so accessible these days.\u201d<\/p>\n\n\n\n<p>It was back in 2003 that Apple first opened the <a href=\"https:\/\/en.wikipedia.org\/wiki\/ITunes_Store\">iTunes store<\/a>, but even before that, Napster and other file-sharing services had already revolutionized the dynamics of music collection. Within just a few short years, music fans everywhere had begun to assemble massive digital libraries, many of them containing months\u2019 (and even years\u2019) worth of music. This also converted many music professionals (and detail-oriented fans) into makeshift digital librarians, as maintaining a functional collection often required users to do all sorts of data entry and metadata cleanup. \u201cBack in the day, I would even download the artwork,\u201d says New York-based music journalist Isabela Raygoza, who also curates playlists for SoundCloud and other mainstream streaming platforms.<\/p>\n\n\n\n<p>The rise of streaming, however, has torpedoed many people\u2019s digital collections, even within the music industry. \u201cI\u2019ve pretty much stopped collecting music at this point,\u201d says producer and Mixpak label founder Andrew Hershey (a.k.a. Dre Skull). \u201cSpending so many hours a week making music, my relationship to it has been fundamentally altered. As a part of my creative process, I spend so much time listening to the things I\u2019m working on, taking notes and trying to understand what\u2019s working and what\u2019s not working, so when I leave the music-making space, I generally want to listen to random music and to not be so controlled when it comes to the listening experience.\u201d<\/p>\n\n\n\n<p>That said, Hershey still has a need to store music. In fact, it\u2019s something he takes very seriously. \u201cI have several Drobo RAIDed drives stored in different locations for redundancy,\u201d he explains, \u201cand then I use Arq software to back up selected files to the cloud every few hours as well.\u201d As a busy producer and songwriter\u2014Hershey has worked with artists such as Snoop Dogg, Vybz Kartel, Popcaan and Wizkid\u2014storage plays a huge role in his day-to-day routine, but it\u2019s much more of a professional tool than a personal one.<\/p>\n\n\n\n<p>Storing files and maintaining a library is also critical for Alison Moses, a music supervisor at <a href=\"http:\/\/www.aperturemusic.com\/\">Aperture Music<\/a> in Los Angeles. At any given time, she\u2019s usually simultaneously working on two to five television shows and one or two films, and although she\u2019s still using iTunes (which has technically been rebranded as Apple\u2019s Music app) as her primary storage depot, she\u2019s gotten creative when it comes to keeping her files in order. \u201cI do a separate iTunes library for each of my shows so I can build playlists,\u201d she explains. \u201cSomebody else recommended it to me and I was like, \u2018You are crazy! How could that be an efficient system?\u2019 But then I tried it and I was like, \u2018This works for me.\u2019 It does take up a lot of storage space though.\u201d<\/p>\n\n\n\n<p>Although the program itself doesn\u2019t seem to have many vocal champions, iTunes still tends to be the default for many professionals, out of habit if nothing else. Most don\u2019t go as far as Moses, but Philip Sherburne, a contributing editor at Pitchfork and the co-host of the Lapsus program on Spain\u2019s Radio 3, says, \u201cI create a monthly iTunes playlist of all my new promo material, just so I have a quick and easy way of referencing it.\u201d And given the volume of new music that he receives\u2014those monthly playlists often have four to six days\u2019 worth of music on them\u2014he\u2019s run into another issue: there\u2019s simply no way that all those files can fit on his laptop. It\u2019s a problem commonly faced by active file downloaders, and dealing with it is often more complicated than just buying an external hard drive. \u201cI have just under five TB of music,\u201d says Sherburne, \u201cand the largest portable hard drive is five TB, so I have to either delete music, which would take me forever, or I have to level up to a non-portable drive, which I don\u2019t want to do because I do a lot of carrying my drive from my office to the living room and back.\u201d His storage efforts don\u2019t stop there, either; aside from periodically copying the contents of his primary external drive to a second five-TB drive, Sherburne also pays Google, Apple and Backblaze for cloud backup services.<\/p>\n\n\n\n<p>Backing things up is also essential for Sam John, a cutting and mastering engineer who heads up Precise Mastering in London. As someone who works on approximately 60 to 70 tracks each week from a wide variety of clients, he keeps meticulous records of every step in the mastering process, from the original files he\u2019s sent to the final approved masters. Although he uses Google for cloud storage\u2014simply because he also has a G Suite (now known as Google Workspace) business account\u2014Precise Mastering does have its own server, and it\u2019s impeccably organized. \u201cIt\u2019s all alphabetical,\u201d he says. \u201cEvery customer is in there. Every job will be under that. It\u2019s all there. I\u2019m a librarian.\u201d<\/p>\n\n\n\n<div class=\"wp-block-group has-background\" style=\"background-color:#f1f5f7\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h2 class=\"has-text-align-center wp-block-heading\">&nbsp;Byta &#8211; 10GB of Upload Storage With a Paid Plan<\/h2>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<p class=\"has-text-align-center\">Create, Promote, Discover&nbsp;<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-buttons is-horizontal is-content-justification-center is-layout-flex wp-container-core-buttons-is-layout-1 wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-background\" href=\"https:\/\/byta.com\/free-sign-up\" style=\"background-color:#ff0055\">Find out more<\/a><\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<p>A dedicated server is probably more than most music professionals need, but cloud-based storage has become commonplace throughout the industry. There are countless platforms out there, including Apple iCloud, Google Drive and Box, although it\u2019s Dropbox that seems to be the most popular in music circles. London-based producer and DJ Dwayne Parris-Robinson started using Dropbox Pro after a series of external hard drives died on him, and relies on its sync function to connect his laptop and studio computer. Organization isn\u2019t his strong suit, but he maintains some semblance of order via a series of folders in his Dropbox account. \u201cInside each folder will be chaos, but it\u2019s organized to a folder, so it\u2019s fine,\u201d he says with a laugh.<\/p>\n\n\n\n<p>The ubiquity of Dropbox is difficult to ignore. Moses says that Aperture Music uses it as a central database, and Hershey uses it to send files to colleagues when he\u2019s in the middle of the music-making process. Nina Agzarian, an Australian DJ, producer and radio presenter, exclusively uses Dropbox links in promo mailouts for her NLV Records label and absolutely prefers the platform to Google Drive. \u201cI find Google Drive so clunky to download things,\u201d she says. \u201cI hate how long it takes to create a ZIP. I\u2019m always wondering, \u2018Is it doing anything?\u2019\u201d However, when asked why she started using Dropbox in the first place, she admits, \u201cI kind of inherited it from my old label and management team.\u201d<\/p>\n\n\n\n<p>Agzarian isn\u2019t alone in this. Although all of the people contacted for this piece had their own storage routines and preferred platforms, few had extensively researched their options. As it turns out, storage platforms aren\u2019t all that different from other consumer goods, in the sense that people tend to gravitate towards what they\u2019ve been shown or what it seems like everyone else is using. KROQ\u2019s Anzaldo uses Box to send and store files, simply because that\u2019s the platform he was shown at a prior job at a different radio station. \u201cIt\u2019s the platform I\u2019ve always used,\u201d he says. \u201cSometimes in this job, you have a routine, and it\u2019s just easier to do that than to learn a new thing, even though that new thing may be more efficient in the long run.\u201d<\/p>\n\n\n\n<p><strong>Digital Blues Part I (metadata) is available to read <a href=\"https:\/\/byta.com\/blog\/insights\/digital-blues-the-challenges-of-music-sharing-metadata\/\" target=\"_blank\" rel=\"noreferrer noopener\">here<\/a><\/strong>.<\/p>\n\n\n\n<p><strong>Digital Blues Part II (sending) is available to read <a href=\"https:\/\/byta.com\/blog\/insights\/digital-blues-the-challenges-of-music-sharing-sending\/\" target=\"_blank\" rel=\"noreferrer noopener\">here<\/a><\/strong>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Part III &#8211; Music Storage \u201cFive years ago, I was obsessed with changing metadata,\u201d says Miles Anzaldo, the Music Director of Los Angeles radio station KROQ. Like most music professionals (and fans) with vivid memories of the pre-streaming era, he remembers the days when he actively tended to his digital music collection, but over the [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":2362,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15,12],"tags":[],"class_list":["post-2269","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guest-post","category-insights"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v23.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Music Storage: Digital Blues - Part III - Byta Blog<\/title>\n<meta name=\"description\" content=\"The Day-to-Day Challenges of Music Sharing - Part III: Music Storage. A three part series written by Shawn Reynaldo for Byta.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/byta.com\/blog\/insights\/digital-blues-the-day-to-day-challenges-of-music-sharing-storage\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Music Storage: Digital Blues - Part III - Byta Blog\" \/>\n<meta property=\"og:description\" content=\"The Day-to-Day Challenges of Music Sharing - Part III: Music Storage. 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