According to Warner Music Group (WMG) senior VP of strategy and product development George White, “…the music industry needs to agree upon technological and operational standards for how to provide this material across multiple services. It's not fair to expect iTunes or others to create different album art features and technology for each label.”
Monday, September 24, 2007
Virtual Worlds Open New Universe
“For marketers trying to figure out how to reach kids and teens on social networking sites, there is a new game in town: virtual worlds.
eMarketer estimates that 24% of the 34.3 million child and teen Internet users in the
By 2011, 53% of them will be going virtual.”
Wednesday, September 19, 2007
I just posted 25 personal photos to my flicker account HERE of the Pho dinner and the 7th Annual Future of Music Coalition's Policy Summit. A heartfelt "thank you" and another Congratulations go out again to all the Coalition members and sponsors for another extraordinary event. All of the hard work and preparation definitely shows...[And as Brian Z. mentioned, "it's not just the panels that makes it such a great gathering - it's the people you meet!"] Similar to other worthy events, I also plan to summarize my notes of the best links, new catch-phrases and innovative concepts discussed, so if any of you are interested in receiving a copy, just ping me...
Monday, September 17, 2007
Thursday, September 13, 2007
FYI - The September issue of the HFA Soundcheck is now available at:
http://www.harryfox.com/docs/viewsoundcheck907.pdf. It contains recent information about NMPA's Settlement of the Bertelsmann Class Action Suit and LyricFind licensing updates, etc…
Tuesday, September 11, 2007
From Radio Business Report:
…Speaking at a conference in the
Shapiro's advice is the advice of all competitive strategists: To leverage our inherent advantage, not be limited to it.
Monday, September 10, 2007
Great article about watermarked pre-release CD’s...
Why can't we all collectively push for this non-intrusive technology to be put into all future media creation software as a plugin - that can then semi-permanently attach the original songwriters/musicians to their respective art ( i.e. a digital release signature) ? In the
But for now, the same way that music subscription services (and internet radio broadcasters) are tracking playcounts based on metadata and server logs, this new form of major and indie "marked music" could automatically ping the PRO's [including SX] when it's played back on any internet connected device...
The desired result moving forward then, would be more accurate royalty payments for all of us long tailers :-)
Thursday, September 06, 2007
Clearly, the Entertainment Industry pays a lot to play in the D.C. game……Listed below are some revealing lobbying totals for selected companies as compiled by the Center for Responsive
Politics (CRP) for the reporting period Jan.1 through Aug. 14.
Belo Corp. ($315,000)
Clear Channel ($1.2 million)
Comcast ($3.9 million)
Cox ($2 million)
Walt Disney Co. ($2.2 million);
National Association of Broadcasters ($4.28 million)
NBC Universal ($160,000, but General Electric's total is $11.9 million)
National Cable & Telecommunications Assn. ($2.1 million);
News Corp. ($1 million);
Sony/BMG entertainment divisions ($925,000)
Time Warner entertainment divisions ($1.9 million)
Warner Music Group ($197,500)
Sunday, September 02, 2007
Maybe many of you have already thought about this type of a technological solution to the dilemma of smaller and indie artists never showing up in ASCAP's or BMI's periodic samples for music performance royalties - but wouldn't it be ironic if the growing anti-piracy trend to dynamically filter uploads to YouTube and MySpace (and the recent proliferation of audio watermarking efforts from companies like Activated Content which are quickly becoming the new and improved DRM) became instead - the new standard to accurately and fairly track public performances? Forget bar codes, ISRC codes and acoustic fingerprinting for a minute....
The global music industry could feasibly migrate from piracy to promotion to payments...
Think about it...if suing customers is not the real savior of the floundering music industry that the RIAA hoped it would be...then perhaps a technology that's mostly associated with crackdowns on music and movie pirates could instead be used to help longtail artists actually get paid when their music is played...Sounds crazy, right....? Well, maybe not......
DISCLAIMER: I acknowledge that it would be incredibly cost prohibitive and resource intensive to re-encode the world's library of previously recorded music with watermarks and add additional metadata to all the content closely guarded in the label's vaults, so for simplicity's sake, let's assume that I could wave a magic wand through legislation [or magic] and declare that all new music released from Jan. 1, 2008, ----in the U.S. to start--- would have a unique and inaudible identifier embedded into the actual audio file. It would then be up to the owner of each individual file produced and subsequently released into the market to put his/her tracking information into the file and register with an overseeing entity if he/she wants to get paid for actual usage. Tiered royalty rates could then be paid out for different use cases like streaming, legal and p2p downloading and even analog transmissions, etc....All this with a 1-to-1 ratio with NO SAMPLING.
Hobbyists and professional musicians that use software like Digidesign, Apple, Logic, Cakewalk etc. could all easily access this type of technology as a plug-in and then the traditional studios and mastering houses could also make this a standard part of their "service." Within a year or two, all new music released in the
Then Congress and major organizations like NARAS, AES, CEA and all the PRO's would quickly endorse it, because it's the law and it's so easy and it makes sense......and......it's completely fair........ :-)
OK, that's my pontification for the day. Anybody want to help me build such a system?
Enjoy your 3 day weekend!!