How it can monetize both

IF having two versions of four of his large machine albums presents a challenge to Taylor SwiftThis is a big problem to have. Again, it may not be a problem at all.

At first glance, it may seem that Taylor Swift purchasing decision His major machine master recordings present him with a difficult decision. Does it highlight the original versions or high-level re-registrations that many fans bought and broadcast? Again, Swift is not necessarily obliged to choose between the two versions of its catalog. Conversations with several veterans of the music industry have revealed that there are many options to monetize the outings of large machines and make the most of its investment.

According to Luminate, the immensely successful SWIFT re-records, given the name of “Taylor version”, have raised 15.8 million equivalent albums (teas) in the United States so far, according to Luminate. But despite the conduct of his fans to these re -registrations, the four Big Machine versions continued to perform well. Year up to date, the original versions of Intrepid,, Speak Now,, Red And 1989 Having a total of 331,000 equivalent albums on track in the United States – around 40% as much as the albums re -recorded.

When Shamrock owned the Big Masters, Swift actually had a veto on the requests for synchronization licenses. If a music supervisor wanted a piece of one of his big machine albums, Swift, which is either the only songwriter or co-written on each track, may refuse to grant the authorization of the publication rights. And she announced her intention to do this exactly in a interview with Display panel After Ithaca, Ithaca bought her catalog in her acquisition of Big Machine 2019, saying that she would not concede music for films and advertisements if she had master rights. This is why an ad 2020 match.com used a re -registration From “Love Story”, not the original Big Machine.

Having the Big Machine Masters opens the door to more synchronization licenses. That the music supervisor wants the original or re-registration, Swift, as the only owner of the two versions, is financially encouraged to put his songs in advertisements, films, television programs and trailers, says Bryan CalhounA marketing consultant. “I would say:” Hey, let’s go crazy. I have this kind of thing. Let’s go hard. And I would have dedicated people to be really aggressive at the idea of ​​going and obtaining licenses. »»

The possession of its large catalog of machines will also create more synchronization opportunities because certain directors and supervisors of music will want the original versions of Swift. Michael HausmanThe director of Aimee Mann and Tuesday, says that Mann re -recorded her song “Wise Up” to maintain 100% of income. “It worked well,” he said. “Most people could probably never make a difference.” But some music supervisors “just don’t like the idea of ​​re-registration and they want the original,” he adds, “even if there is no difference” between the two.

The most fervent fans of Swift supported its re -registration and, in some cases, have shown solidarity in it Feud with Braun scooterof which Ithaca Holdings acquired Big Machine, avoiding the large original machines. Her four Taylor’s version The re-recorded albums, filled with additional equipment and published in several variations, have sold 6 million units combined to date in the United States through digital download and physical formats, according to Luminate. Executive of sales and streaming Adam Abramson Consider that Swift would also find a welcome response to the reissues of original albums.

“While the Swifies were happy to accept the re-ties at the time so that they did not have to buy or broadcast the original and problematic versions, I think that most will be delighted to be able to listen to the original albums because they were recorded at these respective points of Taylor’s life,” said Abramson.

The album re -editions tend to coincide with birthdays, and possession of its Big Machine catalog gives Swift the opportunity to celebrate the 20th anniversary of his original albums. Its eponymous beginnings of Big Machine – which have not been re -recorded – will be 20 years old next year, followed by Intrepid In 2028, Speak Now In 2030, Red in 2032 and 1989 In 2034. This gave Swift eight years to recondition his first five albums of Big Machine. And given the end of his four re -recorded albums, it is reasonable to think that Big Machine’s birthday editions could see an equally strong answer from fans.

Having two versions also gives additional fast streaming income. While Swift pushed its re -registration, the Big Machine versions took advantage of inertia. The four original Big Machine albums accumulated 406 million on demand flows in the United States in 2025. It is about two -fifths of the flows of the albums re -recorded, but that many flows – worth 293,000 teas – will generate much more than $ 2 million in annual fees in the United States only.

The news of fast purchase is an opportunity for digital service platforms (DSP) to take advantage of the interest of fans, explains Adamson. “I would not be surprised and I have already started to see, the DSPs again put its newly detained catalog.” Indeed, Wednesday, June 3, only four days after Swift announced the acquisition, Apple Music went to Instagram to encourage subscribers to immerse themselves in the entire Swift catalog.

There is also the lesson of Garth BrooksWho bought his Capitol Records Masters in 2005 and removed them from streaming and download stores. Brooks closely controlled the availability of its catalog, first Recording license in Walmart in 2005, then in Amazon In 2017. Brooks also concluded agreements with certain retailers – Bass Pro Shops, Cabela’s, Dollar General – to sell its boxes. Downloads of his music have also been made available to Ghosttunes, an online music boutique Launched by Brooks In 2014. Brooks could do what he wanted because he owned the Masters.

Swift could take the Brooks route and make exclusive agreements with digital and electronic trade platforms. But it seems more likely that it capitalizes on its unique ability to motivate consumers and maximize the availability of its catalog on all sales and streaming channels. Swift can undoubtedly get more out of its catalog than any DSP or e-commerce platform, and it will do more with it than an investor like Shamrock. “It is more precious in his hands than in someone else’s hands,” explains Calhoun.