So what are these metrics? Actual sales are of course a critical ingredient, but BigChampagne is also blending components like radio airplay, video and audio streaming, and friends on social networks. The first chart to be hatched will be the Ultimate 100, which offers a direct jab at the long-running Hot 100. But as part of an early morning pre-briefing, the company also told Digital Music News that an independent-oriented chart is also in the works (among others).

In other words, the Ultimate Chart is an evolution in progress. According to BigChampagne CEO Eric Garland, the knobs will be subtly twiddled over time to accommodate a quickly changing terrain. Garland will be officially splashing the Ultimate Chart this morning at New Music Seminar in New York.

And partners? That is also theoretically a fluid list, though the current stable includes Yahoo Music, Amazon, iTunes, YouTube, Vevo, MySpace Music, Facebook, Twitter, MTV, Clear Channel, Mediabase, AOL Music, Napster, Zune, We Are Hunted, Last.fm, and more. “We’re rewriting the top of the charts for the new music business and enlisting the help of its chief architects to surface the most popular music that the charts have overlooked,” Garland relayed.

Earlier this month, Billboard (as syndicated through Reuters) pointed to near-zero payouts on recordings for non-interactive streams in the US, even for superstar artists. “The results show that of the more than 100 artists examined to compile the Money Makers list, only 10 made more than $2,000 from non-interactive streams in 2009, with Beyonce topping the list with an underwhelming $5,000,” the report asserted, while also showing paltry results on the interactive side as well (a separate discussion entirely). Publishing royalties were not part of the calculation.

But is it really that bad? In subsequent discussions with Digital Music News, SoundExchange executive director John Simson outlined a much different level of compensation. “These numbers are quite a bit off,” Simson relayed.

How off? According to SoundExchange tallies, a total of 1,602 artists were paid more than $2,000 in 2009, with 500 of those receiving more than $9,000. Then, 4 cleared $100,000 last year, and more than 60 artists earned more than $50,000. The amounts pertain specifically to royalties on recordings for non-interactive (ie, radio) streams in the US.

The reasons for the discrepancies are unclear. Billboard told Digital Music News that Nielsen Soundscan was sourced for the data, suggesting more current releases and artists. SoundExchange also engaged the publication, and was unable to determine a methodological explanation for the differences.

Even stripping out legacy performances does little to explain. “There is a very robust mix of current artists and legacy artists in our numbers. Webcasting is more current; satellite … has a larger legacy component; by removing satellite, we’ve removed that influence.”

SoundExchange is currently on-the-ground at SXSW, attempting to match an estimated $1 million in royalties to performing artists.

Amazon debuted its Daily Deal feature in June 2008, and has more recently been asking labels for a one-day exclusive on sales before an album’s official release date, as well as label marketing support for the Daily Deal on an artist’s website and social media pages, the head of sales at a major label told Billboard.

“When that happened, iTunes said, ‘Enough of that shit,’” the executive said.

Due to Apple’s pressure, sources told Billboard that label executives had decided not to promote recent releases from Lady Antebellum and Ke$ha as Amazon Daily Deals.

Authored by Mark Hefflinger