New year. “Epiphany” release of DMP is officially “in beta”, I hope to get some new people to really test it this week. But with new features being mostly under the hood and with complete coverage with new functional tests (and passing all the old ones as well), I doubt there will be many changes to the code. All the documentation except the user manual seems fine, and user manual will have to do.
On the Guru side, things are also going well. I am not sure about the techie look and feel, but I don’t have resources for anything else anyway and I have a feeling that for this service, “less is more”. There are several things that started worrying me.
First recordings only
The limitation that only one recording per work can be entered has been an issue since I imposed it. There are two pros due to it. One, it simplifies the data structure and the interface. Two, there used to be such a limitation in CWR and I am not sure that it was removed by all societies, but what I am sure of is that several important sub-publishers still have it in their systems. With this approach, CWR should work anywhere.
The cons. One, everyone, including me, is preaching about merging publishing and recording metadata and then I do this. Two, the infamous debate in production music. Do we assign an ISWC to every version, or do we just assign one and have multiple ISRCs for one ISWC? Musicmark’s EBR templates have just one ISRC field per work. This does feel wrong, but it also seems to be more practical. But, can I really go wrong if I do what Musicmark does?
The only issue here is that when I started this project with the US market in mind, but there are reasons why it does not work for me at this point.
This limitation was removed half a year later in 19.7, as CWR 3.0 came out and solved the dilemmas.
Focus on Europe?
DMP by default comes with the list of 18 societies, and two agencies. This includes three US PROs, HFA, SOCAN, CMRRA and Musicmark. And it actually deals with “our way or the highway” approach of US PROs quite well, though there is another caveat here. But, what has been really bugging me is that SOCAN/SODRAC merger will not only impact them, but also Musicmark, and I have already hit a SESAC/HFA tech merging bug. And I don’t want to deal with the evening shift at this point. DMP Guru will not support publishers from these societies for now.
And if they are off the list, so is the rest of the Americas. And since I don’t want to do the night shift, Australia and most of Asia are gone as well. And within the rest, I decided to follow the money. That means focusing on most of EU (still including the UK) and ignoring some of the more problematic societies, including Croatian HDS-ZAMP.
While the focus is on CET and nearby time zones, US PROs are now back.
Terms of Service
They are hard. Even explaining the concept is hard. No, this is not a SaaS. Yes, it is an aPaaS, well, kind of. Yes, I am the author of the software being hosted, but it is available as open-source. No, I don’t want the dual licence, I actually want to promote its free use. Yes, every instance is actually two containers. They are client’s containers, no they do not have administrative access to it. They can download the database backup at any time. Yes, we are shutting down the containers if subscription runs out. No, the database backup can still be downloaded. Yes, they can pay and continue using it. No, they don’t have to pay for the time they have not used it. No, if they paid and did not use it, we do not refund.
A week to go.