Today marks the global launch of Tracklib, the world’s first and only music service that enables music creators to discover, sample and license original recordings.
The origin of music sampling dates back decades and has steadily gained popularity throughout the years with sample-based songs frequently sitting atop the Billboard Hot 100 charts and out-performing the songs they’ve sampled. In many cases the samples are not legally cleared, often leading to major lawsuits like the infamous Robin Thicke/ Pharrell “Blurred Lines” dispute. This can be attributed to the complicated, slow and expensive process of legally sampling a piece of music.
Tracklib has simplified the process of sampling music and now for the first time in music history, music can be licensed legally and affordably in minutes – directly on Tracklib.com. Continue reading “Tracklib Debuts, Enables Music Creators to Discover, Sample, License Original Recordings”
Rightsify is providing a new way for businesses to license and play music. Rightsify helps businesses save money on music while providing them with custom and expertly designed playlists for their brand, all while ensuring that artists get paid every time their music is played.
Traditionally, the way businesses license music has come from collection societies/performing rights organizations (PROs) or background music service providers. Rightsify is simplifying this by providing businesses with a one-stop license and expertly curated music service so they can save money and be sure that they don’t have to pay any additional third-parties. Continue reading “Rightsify Provides a New Way for Businesses to License and Play Music”
SOCAN today announced it has partnered with Pioneer DJ Corporation of Japan to become the first music rights organization in North America to use direct metadata extraction technology, KUVO, to identify electronic dance music performances automatically and seamlessly in nightclubs and other electronic music venues.
The Pioneer-KUVO device is being provided voluntarily to nightclubs, beginning with the Toronto area, as an additional aspect of their SOCAN music license agreement. Once installed, the KUVO device easily plugs into a DJ’s mixing board, capturing metadata from the music, which is then collected and relayed to SOCAN to tabulate and distribute royalties more accurately to the copyright holders of the music.
Simply put, KUVO helps to ensure that the correct owners of music used in nightclubs are compensated accurately from the music licenses already being paid. There are no additional costs, expectations or maintenance required from electronic music venues that voluntarily adopt the easily-installed system.
“For years we’ve been dissatisfied with the system in place, knowing that not all licenses we pay are getting in to the hands of artists behind the music played in our venues and at our events,” said Joel Smye, owner of CODA nightclub in downtown Toronto, one of the largest and most successful electronic music venues in Canada and the first to adopt the technology. “Now, through technology, the use of a simple device will ensure that the music licenses that we pay and have always paid will go to the right people.” Continue reading “SOCAN First to Use Cloud-Based Technology for Real-time Electronic Music Royalty Tracking”
What if we could replace antiquated physical contracts execution to fit with the new digital music age and real-time commerce? Well, today we can, and the technology is known as smart contracts. Just as the blockchain has emerged to claim its place as the up and coming financial instrument of the future, smart contracts have become an equally hot topic.
Electronic contracts, or smart contracts, between labels, distributors, and artists, can reshape the industry to ensure transaction and payment efficiency as well as increased transparency. Smart contracts are primarily a computer program whereby all parties can agree to the contract electronically, and it can also be enforced electronically.
This can be achieved through the introduction of blockchain technology. In the case of an executed smart contract, the blockchain would keep track of the ownership rights ensuring that the proper parties are paid in accordance with their smart contact. The more sophisticated the code, the more automated, self-executing, and “smarter” the contract.
Read Article: DataArt
Digimarc today released a white paper titled, “Watermarking Technology and Blockchains in the Music Industry,” outlining how blockchain technology, when coupled with digital audio watermarks such as Digimarc Barcode, can help overcome many of the current challenges in rights management and royalty transaction processing in the digital music industry. The combination of technologies can help ensure that artists, content creators and rights holders can be compensated appropriately for their work.
Long-time expert on digital rights and content management technologies, Bill Rosenblatt, authored the paper.
No other business is feeling the pain of copyright issues and royalty accounting challenges quite like the music industry. Recent studies have estimated that between 20-50% of royalties owed by digital music services to rights holders are not paid out correctly, amounting to hundreds of millions of dollars in misallocated or unpaid revenue worldwide. The most fundamental problem in countering this revenue loss has been the lack of authoritative, accessible sources of data about music copyright information, including owners of rights and license terms.
Continue reading “Digimarc Highlights How Watermarking Can Improve Rights, Royalty Management for the Music Industry”
A music archive regarded as one of the most important collections from the golden age of rock – thousands of tapes and videos featuring such artists as Pink Floyd, the Rolling Stones, the Grateful Dead, Led Zeppelin, Jimi Hendrix and Fleetwood Mac – is at the centre of a legal dispute in which Keith Richards and Pete Townshend could be called to testify in a Manhattan courtroom.
The dispute focuses on Wolfgang’s Vault, a concert-streaming service and memorabilia marketplace that owns the archives of Bill Graham, a rock promoter without whom the 60s music scene in San Francisco and New York might have looked very different.
Read Article: The Guardian
Japan’s biggest music entertainment firm, Avex Group, and leading Chinese digital music platform, NetEase Cloud Music, announced the signing of an agreement forming a strategic partnership that grants the Chinese platform an exclusive license to Japanese music copyrights in mainland China. Both parties have said that they are committed to the introduction and promotion of a legal framework for the protection of the copyright of Japanese music in the mainland China market.
With the signing of the agreement, Avex has granted NetEase Cloud Music the exclusive license in mainland China to the copyright of the entire inventory of songs of artists that have signed with Avex, placing NetEase Cloud Music in the position of being the platform with the largest collection of Japanese music with proper copyright protection in mainland China. At the same time, the Chinese platform will become the exclusive management agent for the copyrights of these songs in mainland China, in terms of promotion, sales and distribution of the music as well as administration of the copyright, in a move to help Avex expand in the market. Continue reading “Avex, NetEase Cloud Music to Deliver Copyright-protected Japanese Music to Chinese Audiences”
IBM and Sacem announced today a 10-year strategic alliance to develop URights, a world-class copyright platform on IBM Cloud designed to track and capture the value of online music for both creators and publishers. Electronic distribution of music and advances in the streaming market have led to rapid growth in the amount of creative content being consumed around the world. Last year, Sacem tracked nearly 982.5 billion download and streaming transactions – almost twice the 2015 total.
To handle the exponential volume of music transactions online, URights the innovative rights collection and distribution services platform – co-developed by Sacem and IBM – will help to more effectively identify online rights. The platform will allow Sacem to provide additional value to rights owners with increased data analysis allowing more transparency and a more efficient identification of online works to help ensure they are compensated fairly. In 2015, Sacem distributed royalties to 293,000 creators and publishers in France and around the world, to credit two million works.
URights is open by design to allow other partners to integrate, such as other collective management organizations across the world, ensuring to save cost duplications and enhanced data-driven decision making. It will also provide customized services tailored to the specific nature of their local markets. Continue reading “IBM, Sacem to Deliver New Global Online Music Copyright Management Platform”
One of the biggest problems the music industry faces today is knowing which labels and publishers, performers, songwriters and producers own the rights to songs and recordings, and what their split of the royalties might be. Many believe that record keeping with Blockchain technology can help. Advocates of Blockchain foresee a music industry where every time a song is sold or streamed, payments on royalty splits would be clearer and quicker.
Read Article: Music Business Journal
Invite-only torrent site What.CD, a favorite destination for audiophiles for its vast trove of hard-to-find releases and high-quality files, has terminated operations immediately. A terse statement found on its website mentions “recent events” as the reason for the shut-down. “We are not likely to return any time soon in our current form,” the message reads. “All site and user data has been destroyed. So long, and thanks for all the fish.”
Prince’s estate has sued Jay Z’s Roc Nation for copyright infringement over Tidal’s claim of having exclusive streaming rights for Prince’s music, The Star Tribune reports. The complaint, obtained by Pitchfork, asserts that Tidal was only granted a 90-day period of streaming exclusivity for Prince’s 2015 album HITNRUN Phase One.
NPG Records claims that no other agreements were made and that Tidal “is exploiting many copyrighted Prince works.” One cited example of infringement is a July 2016 report about Tidal adding 15 Prince albums to its service. It’s also stated that Tidal did not attempt to communicate with Prince’s estate after his death.
One thing has become obvious over the last couple of years — on-demand streaming has won. Pandora did well for a number of years with its personalized radio experience but after a certain point, it arguably just created demand for a truly personalized service where users could control exactly what they wanted to listen to.
Apparently, having an algorithm guess at what you might like to hear next is not quite as good as allowing the user to make more granular decisions. In addition, Pandora benefited from the unique royalty model in the US but that also made it hard to export its business model elsewhere.
Meanwhile, Spotify has eclipsed Pandora’s user numbers and, adding in Apple Music, Deezer, Rhapsody and others, makes clear which way the wind is blowing – Pandora’s model has stalled, while on-demand streaming is the future. Hence, Pandora’s acquisition of Rdio and the pursuit of rights for on-demand streaming.