Music 4.5
Music 4.5 is a series of events that bring together music tech start-ups, serial entrepreneurs, investors, artists, band managers and key industry players to share knowledge, discuss strategies for business success, debate market trends and evolution, as well as network.
The name Music 4.5 is derived from a Web 2.0 philosophy which says that, after the huge losses incurred on Web 1.0, the ambition for web enterprises is to make money and achieve a 4.5 times return on investment (ROI). In the music and technology business landscape this means a 4.5 times ROI for all parties: artists, entrepreneurs and investors.
The inaugural Music 4.5 event was held in March 2010 with further events held throughout 2010 and 2011 - see past events for further information.
Music 4.5: Collective Licensing - the debate
29 June 2012 (14.00-18.00), Lewis Silkin offices, 5 Chancery Lane, Clifford's Inn, London, EC4A 1BL
Early bird rates apply to bookings made and paid by 25 May 2012Investigative debate no.2
We will continue our Collective Licensing debate, looking at the latest developments within the legal and technical areas and their implications on music-tech startups, artists, consumers and the industry.
Nearly 15 years after Napster, the music industry still appears to favour models that resemble the simple linear value chains it used in the physical world. Collecting society licence models reflect this.But the world is moving on.
Increasingly, the interests of particular rightsholders are falling out of synch. Music publishers have issues with collecting society business practices and have set up parallel structures in some instances in Europe. Collecting societies have started facing competition from their own members, and lately a number of collecting societies (and their executives) around the world have been accused of fraud...
Many urban Chinese consumers are becoming some of the most technically advanced users of music in the world, and Asia can no longer be written off as the insignificant backyard of a western dominated music industry either in terms of production or consumption. Will China adopt the non-profit collective management approach to music licensing?
Digital service providers are faced with licensing uncertainty and multiple royalty demands for the same works and transactions. The Global Repertoire Database is intended to provide a consolidated database of repertoire ownership, to facilitate transparent and more efficient licensing: will all the key players get on board? Will it solve the multiple invoice problem?
The absence of a consolidated database of repertoire ownership, transparent and efficient licensing, invoicing systems and mandated paths to grant licenses to music services is definitely hampering the efforts by European licensing bodies such as STIM, the PRS for Music, GEMA and SACEM. But is WIPO's International Music Registry a supporting or competing system with the European Competition Commission's Global Repertoire Database?
And how to engage the BRIC countries with a global registry as the major growth markets are generally free of the legacy licensing structures?
A major position statement from the European Commission on collective management is still awaited: can it deal with the consequences of the 2008 CISAC decision or will uncertainty and confusion persist in the European Market.
And the impact of all this on innovation in digital services and music-tech?
Agenda
14.00 Registration
14.30 Introduction - 2Pears and hand-over to chair of the day
14.40 The Global Repertoire Database vs the International Music Registry?
Greater international cooperation is necessary to involve and engage growth markets in the BRICS and Africa in workable licensing systems.Two transnational initiatives are underway. What are the key objectives of each and how do they fit together? Are they truly global? What are the prospects for each?
15.00 Accounting transparency
Is there a lack of governance of what at times amounts to quasi-banks with global structures and global royalty streams?Is yearly reporting fair and right, or should a quarterly reporting become industry standard as per normal business practices?
And, there are at least nine different definitions of what 'The Black Box' is...
15.20 Panel Discussion: Dirty games in the licensing societies - is collective management trustworthy?
- How do you solve the 130% payment problem with multiple claims per song?- SABAM, BUMA STEMRA, SACEM, SGAE, and 15 directors of local Brazilian collecting societies all accused of and/or indicted for various types of fraud: what's going on?
- What benefits the members of the collecting societies best, not just the biggest earners but also the small guys of the long tail?
- Hargreaves said: "Collecting societies should be required by law to adopt codes of practice, approved by the IPO and the UK competition authorities". True or False?
16.00 Afternoon Coffee Break
16.30 China and India... engage and involve or independent infrastructure and set up?
Asia can no longer be written off as the insignificant back-yard of a western dominated music industry either in terms of production or consumption - what's the Chinese perspective?16.50 The new Platforms
New enterprises such as Music Reports International, Nielsen, CueSongs and TuneCore to name but a few, are offering alternatives to the standard institutional processes for both individual rights holders and major rights users.Do they pose a growing threat to the collecting societies or are their services complimentary?
17.10 Panel discussion: Are we at an inflection point in music licensing?
How is the market place for licensing rights organising itself both within the collective licensing structure and in parallel to it - and what does this mean for online services, broadcasters, and organisations that operate on many platforms?Should the system be reformed or replaced by new systems/institutions?
What would the advantages and disadvantages be, including efficiency, market-driven economics, more transparency, etc?
Will the development of the IMR and/or GRD result in a dismantling of the traditional collective licensing system?
17.50 Closing remarks
18.00 Music 4.5 Summer Drinks and networking
Speakers
Ed Averdieck, CueSongsSem Bakker, artist & composer, Tribe of Noise/Rohe Advocaten
Peter Bradbury, Head of Rights, BBC, Global News
Nigel Dewar Gibb, Pitmans SK Sport and Entertainment
Nic Garnett, Simons Muirhead & Burton
Davin McDermott, RSM Tenon
Will Page, PRS for Music
More speakers will be announced shortly
For full event details, click here
To register for this event, click here
Who attends the Music 4.5 events?
New digital technology music businesses (i.e. startups)Artists, bands and music managers
In addition to...Software producersIP & DRM specialistsInvestors incl VC funds, incubators, alternative funding models, angelsSupport service providers e.g. law firms, accountants etc.Music industry bodiesGovernmentTelcosAgencies - experential/advertising/marketing/communicationsSourcing and licensing agenciesGig promoters, venues, ticketing service providers, festivals and festival/event organisers involved in musicMusic industry businesses, labels & Music groupsInformation & research companies, analysts
Past attendees to Music 4.5 events include representatives from:
EMI Music Publishing, Live Nation, BlueDroplet, FT Digital Business, Songkick, Warner Chappell Music, BBC, The Live Scene, gracenote, MusicMetric, Decibel, AudioFuel, 19 Entertainment, Sounday, BandCentral, PPL, Fintricity, Intruders TV, Leap Music , Hope Music Group, Ameritz Music, Armoured Minds Limited, MusicTank, Enamel, Daily Telegraph, UK Music, The Live Scene, Music Business School, Mixcloud, Music Publishers Association, The Guardian, Hidden Rebellion, The Unsiged Band Review, Hidden Rebellion, 7Digital, Paul Crockford Management, riot management, Music Week, BBC Digital Planet, Skint Records and Management, OneBird Records, Lucky Voice, Miguel Rodrigues Music LTD, Doughty Hanson Technology Ventures, Psonar Limited, puffafish, CloudSpeakers, Featured Artists Coalition, Record of the Day, Strata Creative Agency, Inkysmudge, GigLocator, Music Managers Forum, PRS for Music, KissKissBankBank, Ingenious Media, GigJunkie, Girlygeekdom, LoveLive TV, Synchtank, AWAL, Technology Strategy Board, PRS for Music, Imagesound, Aupeo!, AudioFuel, Record-Play, Rockol, Pizza Express, Mobile Media, LBi, MusicDealers, Viacom Brand Solutions, PIAS Media, MusicHype, MusicAlly, Bounce Mobile, Shazam, Musikzonen, Hitlantis, Softwind Studio, EMI Music, TopSpin, Tonic, Brand-e, Absolute Radio, The Pineapple Lounge, Audio Network, MusicWeek, Resilient Music, EMI Music Publishing, Omnifone, West One Music Group, Google, RjDj, Davenport Lyons, Sony DADC, Clintons, We7, SACEM, UK Radio, PureTone Media Group, Endemol, Reed Smith, BASCA, Wiggin, News International, Buma/Stemra, TheNextWeb, Danish Broadcasting Corporation, Release Consulting, PPL, Poplandia, Flowd, Nielsen Music, MusicConnex, Rovi, The House London, Billboard, puma, The Guardian, CELAS, Last.fm, New Media Law, Ernst & Young, Herbert Smith, Captive Minds, Seatwave, FiveEight, LiveMusicStage, Pepper, Eskimo Live, MusicGlue, Mobile Roadie, MediaTainmentFinance, SheMakesWar, BeingHuman, goetzpartners, 10Tribes, Mama Group, AudioLock.NET, Beat Flick, blur Group, Pinsent Masons, Bristol Music Foundation, Cue Songs, digitalle, Dizzyjam.com, Eden Ventures, Financial Times, FrogValley, Future Copyright, Hooolp, Juggernaut Brew, LondonlovesBusiness, Mobile Backstage, Momu, IC Tomorrow, Seevl, Sony Music Entertainment, Webdoc, Xylyx and many more.