New Gold Dream 2014, 2015, 2016

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New Gold Dream 2014, 2015, 2016
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Let's talk about music, money and how cash flows in today's recorded music business between streaming services, IT companies and record labels.
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so enjoying uh but then the morning everyone lasered coming out algae it was that there headphones on yeah and we're gonna be talking about the music industry as it stands today a little bit but with that happening the path have
been a digital revolution evolution and then we're gonna look forward and we got a great experts with yesterday and guy Helen's that from in politics the at the big organization that European Organization for independent music labels and we've got some tailored is the Digital Business Insight associate for the you know it is added at the U. K. 's biggest music industry air information provider that that mean the online guide him the also organize the a great escape in Brighton so you start off with sound here is that again in the better background and their information about the music industry lot especially when it comes and so I'm I'm kicking off earlier and 2 sessions
today I guess giving a broad overview of the music streaming and in particular the money earned the framework in which that
money operates so I think we're all increasingly familiar with the the always-on and always available model of content we see today what would not always so familiar with is what that means to the people who create that content and what that means to the way that they own their business partners to service icons and get paid everybody in this room by now hopefully is familiar with platforms such as Spotify you choose Netflix companies that deliver the content that we want when we want it literally we've heard music the show and we ball the teacher and we've all seen
people wearing ridiculous 300 dollars sets of headphones the by Dr. dry lifestyle accessories that site I love music so let's step back a moment and take a look at how the streaming economy came
to be and then we look a little bit more where we're at now 1st of all music business is a business built entirely on intellectual property if you write a song right now today you and copyright and that's all you own the copyright in the music and you and copyright in the lyrics of songs that music and that's the fundamental business that we are in in the music industry it's about exploiting that intellectual property and this all started a very long time ago bases copyright is rigid way way back in history of this a brilliantly evocative starting point but I like to reference and that's when the guy um called Salome only Rossi an Italian Jewish violinist someone down in 1623 a rabbinical us on anyone who copy the text of his work share have achieved and so time passed and so we actually come home to the pioneers of all of Music Copyright Mexican music publishing the
Germans in the 18th century pioneered by some quite forward-thinking princes the sheet music publishing industry really took off in Germany and 1 of the other sheet music publishers in the world today shot music was founded in 17 70 so this lays the
foundation for the principle that the author of a work should be paid when that work is reproduced and this is enshrined in the late 18th century in the US Copyright Act of 1790 which for the 1st time protects in law the right for authors to assert ownership of course and lyrics and to be paid for that right things grew and grew and by the end of the 1st quarter of the 19th century of vast amount of sheet music had been printed in strips in the USA which by then was the largest markets for music in the world yeah and so then after sheet music off we move towards the mechanical reproduction of music as well this is driven bizarrely by the the invention all of the jackpot weaving that's a weaving loom that was used to create a very intricate silk Parsons army was of a system of hoax unbelievers and and punched called which would tell the machine which pokes and leaves in its pole and that almost directly led to the invention of the play the piano which would pianos that use roles of punched cards to reproduce music and it was from here that we came into being what what we call the mechanical royalty which covers the mechanical reproduction of music that led ultimately to the invention photograph and all along
through CDs and cassettes and MP3s to the point that were at today and and not essentially is coffee right 1 and 1 for music when we talk about music copyright today we're talking about at least 2 distinct Copyright Copyright in the score including the lyrics and the copyright and in the recording and in a way that's where everything begins to break down slightly if you rise to solve
your rights as an author of a protective if you write that song and then you signed a deal with a record label who pays for that song to be recorded that record label which paid for the recording owns the copyright generally speaking in that recording which means that every time that these music plays the record label that space and the person who get right wrote the song also gets played and in many ways a the sort of social contract at work here you as a songwriter don't necessarily have the means to distribute your music to your audience in the way that they would like to hear it back in the days he wrote song and you you paid yourself to recall that song you had 500 copies of the song press of vinyl records to get that music to 500 people and to realize the value therefore in your cover right you need to find 500 people to buy the record and if you couldn't sell them you were as a public and soap music companies record labels put in place a mechanism to to facilitate that distribution to audiences assigned artists they recorded songs pressed records they put in place a distribution chain and a marketing machine to drive sales within that distribution chain and in theory for a while everything's great songwriters made money the labels made money and to an extent everybody was happy and in
reality of course it's a very different story it's no coincidence really that the music business is run by lawyers spanned by constants of course the way it ended up with the labels found ways to ensure that artists songwriters and performers were were fundamentally always in debt 2 labels clever accounting and clever legal deals and should that
labels rarely lost money and throughout the history of recorded music has been a drive to to cover the lots at all all all all matters almost labels have driven what I call format shifts reinventing constantly the formats that music is served in final gave way to CD and cassette which goes to and ways free which gave way to the point we're at now which is streaming sets so I'd like to step back from another interesting thing I think that work here think back for a moment to the actual physical obstacles that we use to do with the Big 12 inch disk the vinyl in a great big slablike sleeve the smell of the Prince Philip because in your hands the huge expanse of the surface about slavery was something you could run you and over and really feel connected to that piece music vinyl was a
hugely monumental so the format if you want to record shop new boss and album on vinyl there was no hiding that you walks out of that shot with a great big bad from training a full square foot have called and closing a fairly weighty piece of plastic and that was your music that was something that you carry something you touched something you could smell almost something that you carefully on rats that you felt with every part of you as you gently slaves the record from the cardboard sleeve and took the
flimsy papers slick based off the vinyl and carefully put it onto the plastic of your record player nudging the stylus into place and I think that's very interesting philosophical shift there as time went by people people wanted more access to more music in more places more of the time and innovators as innovators rules to found a way to solve that problem and some of those solutions like the NCAA record player 1 really so great but some of us like the cassette tape and the compact disk will wildly wildly successful and suddenly all of that music we also final you needed to buy again almost to keep up with technology and to feel that you getting a more quality
experience new music together hold your head high you still listening to records
people would say I have a compact disk that I have a walk and so in many ways I actually think that the rocks was set in place in 1979 with the commercialization of 1st the that's what once being these big physical monumental experience of buying and consuming with all your senses turned into a tiny little box less than a quarter of the size of 12 inch regular fragile plastic easily broken little box with squash down artwork and a nasty little dates the widow would stand up to anything but in fact it would scratch and skate and glitch the minute you dropped it on the floor or spilled something on and so suddenly the process of buying paying foreign consuming music was was somehow reduces and that reduction became a reduction in the perceived value that we attached to recorded music and so how does this relate to stream yeah yeah I think 1 of the points that that's all I see is music has now become sheet music through streaming services just another commodity to to be to be accounted for and this is the fundamental problem with where we're now
music is more available than ever and more available at less cost to the consumer than ever before so the prices of an Italian morning read to the number of states now but as of today I
can take out a spotify subscription for 10 pounds if I'm in the UK 10 dollars if I'm in the US 10 euros if I'm in Europe and I can listen all day every day to music for no additional cost the if I listened to a four-minute song that means I can listen to 15 songs per hour every hour of every day and every day of every week and for the 120 pounds for dollars or euros that I'm spending each year I could listen to perhaps a 125 thousand songs a year maybe a little more maybe a little less depending on the length of the tracks this I'm choosing and that's all for the price debates compact disk album but cost 15 pounds each if each of those CDs had 15 tracks on them and for my 120 pounds for a compact disks 15 pounds each other by 120 tracts 120 pounds 120 tracks each of them a pound or euro or dollar and if my limited Streaming Service let's listen to 125 thousand tracks short very few people are gonna hit this threshold nobody is going to let them use the wrong day in day out all the time but then when it's so cheap when it doesn't cost you anything more do you stop your music when you get up from your desk because you can always skip to the next song as there's no cost implication to you here but so if my unlimited streams of is that we use to 125 thousand tracks Texier that allows for a payouts to right so those 4 mechanical copyright and publishing copyright all of 0 . 0 0 0 9 6 pounds per stream and that is a completely unrealistic scenario because nobody's gonna let it run on all the but if I listen for an average of 80 hours a month which is 2 to 3 hours a day an hour on my way to work in our at
work in our the James something other than something that shoots 2 . 0 0 8 3 3 clustering so that coming close to a 10th of a um and that 1 10th of a penny needs to be split between Spotify diesel audio whoever is running the streaming Service the
labels who held the recording copyright and so so so once you begin to split this tiny fraction of a penny 3 ways it doesn't really amount to much the person sparsifying fact a quite so for about what they play out they say that they pay an average clustering of between 0 . 0 0 6 dollars that's saying and . 0 0 8 4 dollars to right so it's a split between publishing and so that's not a lot of money to go around putting aside for 2nd come the mind boggling changing the scale of consumption as possible with this model that's just take another step back and look at some of the key players involved Spotify is the biggest music streaming service in the world today I think they've taken 538 million dollars of fund Endesa has taken 150 million dollars audio taken 17 . 5 million dollars you tube which is also significant there in the streaming market was sold to Google for a billion dollars Pandora took 60 million dollars and closed on the US stock exchange in the current is worth 5 billion dollars and beyond that were not hundred also streaming platforms out there across the world some of them are just some of the smaller so where does that money is all gone sporophyte claim they've played out a billion dollars so far too right so it's on that's fine taken 538 million dollar of investment they have a premium subscribers to a generating income for them but largely these these platforms they are huge huge software companies they run on engineering talent running
massive distributed computer networks is a really expensive business engineers in top territories cost an awful lot of money and executives to run services like this cost even more money the C E O C
0 and C S 0 of Pandora last year who were a public listed companies they publish these kinds of figures it's 3 people between them took home 15 million dollars between them the other
services we have no idea what that thing as in wages because they don't need to publish that at member the quick calculation would say that Spotify which has 12 hundred staff around the world may well be paying out hundred million dollars or more each year in staffing and benefits quite possibly and so where else does that money go streaming music is requested a tiny tiny margin in huge
huge quantities slowly bit by bit the mainstream adoption streaming music level for consumers means that the dominant players may be maybe just perhaps we can begin to claw back those tiny tiny fractions of a penny add them up and begin to make profit maybe a key things running a successful streaming platform of course is that if you want mass-market adoption you need to have all of the music he can't have some of the music because when people come and use that form if 1 in 3 of the songs they want to listen to isn't available they're gonna go away so you can't have just some of the music if you wanna have all of the music really you have to do deals with the major like if you have a major labels everybody else has to come on all so the major labels such work come on it will have without catalog up to you and will enable you to deliver the services that you need to be able to market yourself and all will ask in return is that you give us a great big up-front
payment to access our catalog and also give us a stake in your Service what give us some equity and this is the reality of things right now streaming services paid over a massive massive multimillion-dollar advances as they turn them to labels and they've given up significant equity in the service and
little none of these advances found the weights losses they weren't necessarily advances they were more of an from fee for access to the capital and you can pretty much better laughter None of that sentence you will find its like losses like that of course as the screening services has signed a deal to take a huge advances in equity shares of also negotiated preferential rights on the streams of that concept which means that that theoretical 1 10th of a penny that we talked about earlier gets split more in favor of the labels unless in favor of all the talent songwriters and so now
sparsify compete against beats competes against audio competes against these the against Pandora and against users and make no mistake tube is a huge huge flare in music stream if you compare the play count popular trends on you tube with that play Captain Spotify you quickly realize how big a player you to this of course it's rumored that Google Google Play music service was actually just a stalking horse to launch the soon-to-be-announced they say you streaming service which could change this home market completely from what would talk about static and is the thing all of
these platforms compete against each other the and it means only 1 thing music is more commodity ties than ever and distinguishing yourself as streaming platform from other streaming platforms becomes about whoever has something anything new to announce and in my opinion 1 of the most cynical move to the if you think about the acquisition by specifying a brilliant music states of platform called the evidence Diaconis took 3 rounds of investment raising just over 27 million dollars from a range of very heavy hitting investors including a company called matrix part very forward-thinking firm whose other successful investments include flora which now is the leading questions and answers destination on the Internet Zendesk which
is a ticketing and bug reporting platform began 1 of its leaders meets your code framework based on Java script which is arguably the programming language that powers the future of the Internet and HubSpot's 1 of the leading B-to-B marketing through out the
matrix Partners also invested in Oculus a company which has just been bought by Facebook 1 . 2 billion dollars so what you might as well as this have to do with streaming anything at all it does it does the EC announced how the backend of numerous music discovery services integrates instrument product streaming only survives people constantly pointed toward the music otherwise sooner or later they stopped seeing the value in having all of the music all the time and settle back to having their own little library favorites so Spotify bought the Afghanistan that do was rumored to be worth 100 million dollars which to me and to many other people in the industry seemed surprisingly low and even lower when you consider that for the 27 million dollars of cash this investors supporting they actually only got back 10 million dollars in the other 90
million dollars in that deal with Spotify stock so matrix partners in the other investors in the EC took a trade from getting the cash back now they saw a a huge huge upside to the 90 million dollars of sporophytes but they were a what's an outside the upside is when Spotify executes an IPO and becomes a publicly traded company which people speculating is months away so as it stands today
sparsify has played as a billion dollars in rights in in revenue sorry to right so and they tell us that they pay out 70 cents in every dollar of revenue that goes through Spotify not 70 cents in every dollar of profit 70 cents in every dollar of revenue so what's the downside to artists and music industry larger when Spotify becomes a publicly traded company it's almost certain that at some point the investors will turn around and say proton we're paying out 70 cents in every single dollar of revenue that we generate we're paying less right so so we only have 30 cents in every dollar to staffer company to pay for our officers to pay that huge pool of engineering talent by our flights to put on party and market of service and to make a profit what gives and that's the point that Spotify turns round to right so those as Pandora did when they became a listed company and they say we want to renegotiate terms to the all the labels to a massively invested in Spotify success in the same no I'll leave you to answer that question all the songwriters who have little say in mass is going to be able to argue with sparsified almost certainly not please don't think there was I think streaming is about the streaming isn't a bad thing at all streaming is absolutely the future of the music industry streaming is fantastic it's democratic it's utopian it's a glorious thing it gives more people more access to more music to more more of the time and that access can only be a good things and streaming really really isn't
going to go away but the biggest problem we have right now is that the current model and the model that we pretty much foresees is gonna run into the future is a very very heavily skewed
in favor of the biggest and the most powerful players in the market and the people who provided the life a lot for the music industry the songwriters lyricists the true talent of music further and further margin and that to me is a huge problem when creativity and talent is not the rewards of nor cultivators how can those songwriters sustain creative lives families and the writing salt I think now we're going to talk about some of
these points yet thank you very much so that we're not going to fears that the framework is still can and being built for the digital age even this far into it and and it's a bit can RAM Jacqueline and uh
the major labels for example and manager can grab onto some that a larger piece and everyone is kind of just trying to find find some kind of system on how it's gonna be split and we're so where the independently of the other if they do they have any place to take a while to have at least a table 5 usability committed doing anything called Maryland which is based in London announced a dominant it's run by somebody had a history in distribution and recorded music in Asturian contrast contrast and he had a quite interesting vision on the potential for independent labels and they'd like to said that at the end for example that actually you know it just dissing stealing a disaster because far far I'm embarrassed and for Madeleine the fact that we have these new services is it is such a huge it's a huge potential to have a level playing field the whereas in the ordering of getting a record in a record shop that if you're an independent label was very very difficult if you got it got it there to get them to display it anywhere with that of others and expects it's not about which there is no pressing records of yes but I mean that's the as I think that's not the issue the biggest issue the biggest cost is exposure and marketing and access so this in theory is that is is is the level of the input labels have been looking
for our soul the also found were very very than quick to adopt a digital market so I don't know who remembers in here when Napster was trying to launch a legal status and and aim at the time that was before Marilyn existed
we we did our a licensing deal because we saw this as as as really the future the but of course the the issue is really high to have to work with the status as a so that would have more artists who have more exposure but also to make sure that the value that is extracted is they and we can see we have seen a lot in the press recently about the the the Spotify killer that that Google's pointed to to launch and and 1 of them 1 of debates that are going to be paid in and there's going to be our very very very models as good the belongs to really I think before we know that the final result for the body this is the reason that we would
just 2 years into this whole situation and the spirit of blocks of land grant from the string class get as much of the boxes like but it's all going to come up with something like that on the news I think that the 1 thing with be and that's that's happened instead of getting there is
dominant players in every field whether it's dominant in in that as in everybody knows intimately with Amazon and that is taking you know retail taking over retail start out with taking over all books books sell so whatever and and with the video streaming due to is pretty much the only game in town and we have the
vote but they're relying on you to and you got video but there again not even at a different approach yeah is a different product so so it's become like everyone wants to be that 1 so what I want to be that 1 music streaming service and for all is of course the only needs much competition is possible amongst the services and
concentration at that level is it is a concern for us because we we can see the Maryland related in Mauritania but there's a there's a lot of because we i are members of their producing 80 per cent of all new releases in Europe to date so we should have in theory have a huge collective bargaining power because it's very important for service to have everything we're creating much more than that in the majors but when it comes to negotiating power and typically you will have the the the the majors who are going to be using distribution they tell which of course allows them to extract more in terms of advances in minimum levels of payment and that means that the is the whole issue of remuneration is far more complicated nonlinear ever was before and that we see a lot of press about the level of of streaming rates in some sense is the saying as the pay more but what we do when no so much about it is this whole other area of remuneration in Advances in equity and the extent to which that is all going
to see what I mean I would I wouldn't be used in the experiment in India is a non-disclosure agreement so it's more as at less transparent than it's ever been there in in the digital space because it used to be even though there there's always been some sort of secrecy everyone would pretty much
know how much they would get paid per record that was sold per play on the radio and these things but the only thing that certainly for artists and songwriters the only way they can figure that out is by looking at the of experiment and then they just have to trust that is right I For rise of course that it there is another issue which is to simply apply sperm the impact of concentration I don't know if you know all that
empower has a long history we have been opposing concentration music like it because we believe that it increases the gap between independence images and makes it
harder for it's a harder of rise to break new artists in only a year and a half ago there were 4 layers of the for major labels that has an impact on the impact of that concentration was something new and it is to look at something the Commission when it had to look at the European position when I had to look at the attempt by university by you mind they sent a hold on a minute this is going to have a negative impact on the on the development of the 2 to what and that was that lets you remedies in the made universal sell-off 2 thirds of you my and they're going to look at that it's 2 contracts for the the next 10 years and that's it in practice is that being I think are going to look at them and so that was good what looking for is most favored nation clause is so a company like investor has such a huge market share and where the most favored typically puts a clause we if the service gives a better deal to another music company then universal automatically get a benefit and the European Commission doesn't like those types of agreement because they want everybody to compete freely but the apart from whether or not that's those types of clauses are are going to have an impact it's just really a question of the fact that you have basically the major companies neither able to effectively mold the shape of of services and you can see that the result of that is often ought to give consumers what they what they want music funds in the totally reject the whole MySpace experience I'm a balanced position is that that's partly due to the fact that we didn't really take in into into account the views of the position of independence and I was curious
and that and I think you'd be able to play maybe even you would be able to shed light on this that had gone on a service like Spotify that
catalog and with the older songs are being paid at the differences L. calculation then currents on all the whole the whole calculation of how you would sparsifying it's not just the fuel news stream you get this much money it's a
very complex calculation of how popular your music is against other music and then they they work out who
share of Spotify markets and calculated the extreme right on the money I mean I I have also heard as you highlight the cattle shows us what is right a lot of data alone right for for what reason I don't know but I guess it's because of the catch is that the land was negotiated majors of saying what we're putting marketing effort into this new art music so we need more return to to pay those costs so again the difficulty with all of this is there is absolutely no transparency in the wall is being carried out movement and for what reason to think that 1 of the biggest issues with with all of the if it was just a little bit of transparency in which competition would be there'd the bachelor and everybody would benefit from there is there
is there any chance do you think you have you Hellenism in Brussels where a lot of policy is being uh shapes on on these issues you think that there there is evidence that there will be transferred to say or how does it look like and how I intend some of you have to look at the whole issue of transparency in in in you
know in according to what you're what you're considering so in an artist contract where you're label is reporting to an artist then obviously you need to have it should have so transparency in not that's absolutely essential and all the revenue that's attributed to a particular artist music that needs to be attentive to kind of far out when it comes to a and causing transparency all in the deals between the state labels or publishers current Stavros's I don't know to what extent the European Commission is able to say from now I'm on everybody has a contractual relationship is obliged to publish to be called it is available graphically salvaged from using the lattice just
a contractual relationship them and generally speaking indigenous the details of the contractual relationship of tribalism ratio you got of Lopez out then suddenly the streaming scenarios and everybody else should be but the see that the the interesting thing with that is of course and I know that you represent record labels and mainly but uh on the songwriting side and the negotiations are big because for songwriters they tend to be represented may have publishers that do deals for the mechanical which some describe what it was early but mainly for streaming that's mainly performance and put for performance they have a rights organization did you get game i in Germany and England we have S and Sweden where I'm from we have stem
and they negotiate on behalf of all songwriters and publishers and in that particular territory so this bear with when it comes to the the the EU or the government there they've decided that they need to be setting the parameters so that these Heorot bureaus as they're called I don't care abuse their monopoly so to speak because they have all the right they're negotiating on behalf of every every 1 of the month and they have new rules which have
to be an implemented now in the next 2 years that's tied a whole list of transparency accounting
obligations of the idea is the collecting societies because of the position where it will be subject to this new these new set of rules about governance and transparency I think in most territories the most societies will probably field at the end of the analytic complying with the obligations but I guess that would be quite a few of you you will need to to make some improvements and then the question is it's very very difficult when you're negotiating with with the Google are you to force quantifying is subject to a non-disclosure agreements with the threat of imprisonment is very difficult for you to to actually work had higher you're going to do to make effective discloses them
I 1 interesting thing in a way that we we touched on you to but I know that that was the biggest independent labels beggar is is that it's actually a group of of independent labels there head of
digital Simon Wheeler and has voiced real concern about it is as if that is the basic service I wanted wants to eat all other services and our business and is the biggest music service in the world and we did it you said we didn't realize we got caught out in real real time as we thought it would just be like a logo people show their dogs going body casting it out funny things and we didn't see that it would take over a half of what it is it is there anything that can be what is your concern and is there anything on that what I think 1 of the issues with with operators
and life that is the extent to which they can try and rely on on 1 classifier our exemptions under copyright tell RE and 20 service regulations relating to he had not distributing content that they will try and argue that actually might be distributing a little bit but really they're just host is nothing to do with that I kind of feel that we might need to look at the next exam right out of the way of the in the in the
takedown notices things and only but also just the principle of of of of of licensing of of those services so in the same way as radial has always paid Evald individual pass listen to it doesn't have to pay a firm then it today you you will pay or the use of music that builds that makes it a fantastic offering and generates most of them but survivor times as it is explained to be behind us and work with you to compare to as part of I was completely that later than something like Spotify that wouldn't lodge wouldn't have any musical and unless they had a license for that but associated with the chip typically you have what I think uh regulators call user-generated content and that means people post video is not of course you have
labels have posting the official video and then you have the dogs and cats in and the children and the and the funny accidents and bicycles and what not and then you have they're out there
in the in it is that all the video is that music funds and other funds will will cost and they will make their of videos to something to have big recording like to Justin Timberlake or something like or they might just put a whole raft of continuity have just put like the record sleeve yet and then you have a Google has the most fantastic Content ID system imaginable so they are able to identify the music and other content that actually appears in in a in a piece of audio visual what could be a video clip and then we can rearrange my total but of course the question is really how much of the pie rights holders are able to negotiate in the 1st place and not as we have such a pain in the sheet of paper all all all the videos that music today they they that there were there was that there was an
agreement civic Maryland individually with the height of society as it has happened so that we can use it that major labels I diet it's it's 100 per cent coverage but in principle then
when the content of the right to use the newest payment from you choose the anoxic then attempted to onto the individual contracts that never has the license will have with their you would enlightens or they're on the artist's so if there is a somebody's put out
there like for example let's say led zeppelin our beetles 11 there was that the use of beauty or I and I don't want either so but there is another somebody's put up their entire catalog of albums and as straight is just with pictures of a picture of the goes on and on the lives of 1
and how is that well but all let's say that even even if they have a deal that led you to but anything that is at odds with that we pay for somebody puts up a whole album unless otherwise unless the rights holder was taken down but of course it happens in some artists will not want to be associated with a particular video a photograph or a product in the project and then and then there's the request that goes in and out of the kind that cost 10 X state back up and despite the uh the content and the system wasn't wasn't and labels can't cope with notice and connection systems so this is the of the and having a lot of people are
beginning to what we're beginning to have been describing you to what was the coupon service because you to hide behind the station and you can
take your site and you can start that is being used but of course it will just be uploaded straight away again by someone else and so no matter how you find that the music is still there uh there's very little you can do to control the distribution I think he's to see some
services like that as i services as distributors and then you start looking at the whole prospect of notations in a completely different way because 192 bits and task status and we will be more and more and more
fantastic status as the next 2 years by this time is a whole distribution of music which is a completely different in many many many times over and and I really do think that in the video streaming arena where do you think that there is room for another the high gradient streaming
services that the of think if if we look at myspace back in the day MySpace was the leading social networking many vanished overnight faced with a weighted vanish overnight because I think about that
but it also exist operated in those of anxiety yeah they they made a mess of it's just try and moments or is it and you know that they're ruins the relationship that they have with their audience I think this is 1 of the really important things with with anything like this so what what's all system of selling their home isn't a novel meets the relationship you have with the firm based actually streaming is an opportunity use rights to cultivate and and rich and which in that that relationship between also some of the parts you used to is dominant right now we could change that could try Google could do something make a mess of this or they could be regulated and can make the change of you know what we have today as I said a few minutes ago we are very very early on in this conversation and so the players that we see now won't necessarily the blood we standing in the middle 20th about you know again we look at it Facebook Facebook's influence in certain demographics is changing
considerably I was talking to someone who rum are a lot of social media for a lot of very very big from top to musicians and celebrities and he was saying that 1 of also Harris 120 thousand followers on structure and every time he
publishes snapped story he gets massive massive engagement from that's almost invisible from the other day choosing snapshots over flexible because of that demographic that's how they want to interact and so Facebook's influences of the folding no reason you influence intervals was went also fall over time so I think we could see a different video provided someone can do is sort of something better to consumers arms idea I just read this morning that uh maker studios which it has been part of the you too
can have a infrastructure has now started their own politically later reach out there trying to remove themselves in with some negative manager of the culture production in the distribution channel Robin broadcasting the use so yeah I can see that they might want to take the value of a relation and sometimes in the form of services so that was so early on its importance so what's going to happen in formulas which of those words Ramon I think the point you may have tried to help you go on and regulations also really important of course this year but not quite a lot in Brussels who
has spent a long time ago they opened the regulation of the Brussels well they have a lot a lot a he added that that that the delegates side the holder for a while but I think what we're going to see in the music market is the same as what we've seen in under this difficulty center facility ties markets like electricity and other amenities where we have seen the huge effort made by the Commission to unbundle so that that basically means that if you're an operator and all that position in 1 part of the market then you can't really control part of the market and also with you we also have the Lecompton competitors and so for example 1 idea for and issue baby OK so they have this great ideas at identification system content maybe they should be licensing and i've because they're in the dominant position and there is such a unique position that actually the public interest means that there should be an exceptional kind of unbundling or opening up of of their what days in fact in fact the same facility if you want to operate that level of business and then you also have the whole issue in the Commission's looking down google right 9 times exact results in the narratives in is that in the public interest they have 1 company controlling sectors outside is also providing and is going to be launching their quantify can delta it's great because the colossal worried that if you have to also works that with that asks textual analysis on on what
is in the public interest as we have so much consultation already and I thought quickly uh if there's anything it's
difficult to say that I see somebody that wants to ask the question in the audience I have been yields a table that you are in the time
near me yes I can hear myself have of my name is Jim quality in the ICT technologist out of Austin Texas I welcome to their level of alive user capitals of the world yet but my question addict get two-part question about from both an economic and technology futures the the economic side of it is in the next few years we're going see ongoing sales you approximate run rates of a billion units a year of smartphones into developing countries as we're talking about doubling the tripling the size of the people that use the Internet in the next 5 years and so immense new potential customer base what's the implication there and then the 2nd part of the question as technology evolution to me the streaming seen you to Spotify incredibly primitive compared to what's coming on Facebook plot Oculus Rift for a reason of what's the future of music distribution when your life performance recordings in virtual reality and full 3 D is a part of the landscape and you know it goes well beyond just audio recordings in the future high death is is here the high that this could be incredibly primitive compared to 4 K recordings three-dimensional recordings multi-viewpoint recording synthetic camera recordings things like that I I think this is to answer your 2nd question that which is about increasing policy that that's definitely beginning to drive
things I mean we're seeing of new Young's the better 1001 with the Neil Young thing what was again the age group of the people that are interested in that only because at the same time you see people listening to music with that of of the speaker of the mobile phone absolutely but I think it's about having different different products of different parts of the and here we mean streaming is the dominant way that the using our and the Scandinavian service will win which offers high quality music streaming from the beginning to make inroads into that I guess the the issue with the 3 D sound things rather that is going to be something that happens if nothing else because it comes back to the same point I made earlier we replace final that's easy because that allows the labels to sell them and go on and so there's no reason we couldn't happen in the same line audio
experience from a 5 . 1 surround sound system all that in the course that's something where you have to buy the recalled it's in the formant begin with which is more expensive or you have to go back to to some of the creation of the area of the fact that it's an I think of some of the some valuable here
jazz like classical it would take you there is a huge market of I think more and more the TV is becoming the central entertainment devices not just the center watching TV device in the central and state the voice of the people who come back so that's some systems to that's the suddenly if you're listening to basically to D altogether but then you apply in this amazing 3 D surround sound university of exports carry more you know all constraints experienced suddenly we associate and you start you start thinking well in the experience I'm getting things right so I think that's going to be a necessity to ride that horse quality audio and stuff so regarding the impact of mobile you get something that's coming I think I there are all sorts of issues that because the territories that mobile is going into were really be mechanism you know to right so this is almost non-existent and so I think
the challenge is not to 100 ultimately benefit people but again it's something that's that's what I do and I mean I I actually really it is still far from so far from from will always be so far have tried to understand what kind of have to consumers and the 2nd half of the that I have had
developing countries in being able to extract value from services courses because of all a data that that's going be really interesting friend of mine and I think in some ways in some ways this potential because you're going in in like this that they don't know anything else the level of mobile take-up has been much faster in the entire data that where they where they have it in the and blood and for example but the I cable read here this is
the feature of the province of new services designed to work with the feature you know the whole thing we all have brought to the of
of that and the other smartphones available or other solvents of ideas and related but but you know that the whole of the floor-standing music to features the of of just just pick your I think the point that you make about
everything being very primitive variances in their mind Michael Jeremy's over wrote a book hold digital medieval and that
is very much the system should look like the legs of looking at the level that you know he is argument is we are only 20 years into the whole thing so I made the point earlier we we've been publishing music in what I mean actually was publishing music in 1 form or another for about 3 thousand years the severity of the system utilization rates of birds music publishers has been around for 500 years so when you take 500 years and compared to the 20 years that we're into this conversation now it is so potent and I think that is a good
note to finish off I thank my balanced set of Smith and thank you for listening have pretty