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Content is King but Distribution is King Kong: DBS 2015

Sunday 15 March, 2015

In a final session at last week’s Digital Broadcasting Symposium, a panel of experts looked at monetizing new digital developments.
 
Steve Ahern reviewed Pandora’s success, using its publicly available annual financial statements. He compared the traditional radio business model with the model of emerging music streaming technologies.
 
Radio companies have these characteristics:

Spotify helping to reduce music piracy

Thursday 11 September, 2014
The growth in music streaming last year was “completely dominated” in Australia by Spotify, according to the company’s Director of Economics Will Page.
 
One in six Australians currently use spotify.
 
Speaking at Communications Minister Malcolm Turnbull’s Copyright Forum earlier this week he said the reasons Spotify has been so successful are that it has the right price and the right product.
 

Indies hold out for better deal from YouTube music video service

Wednesday 18 June, 2014

Independent recording artists are holding out against YouTube in a rights payment dispute that may see indies such as Adele and Arctic Monkeys taken off the popular video sharing service.
 
YouTube, now owned by Google, is planning to launch a music subscription service in competition with streaming music services such as Pandora and Spotify, and is putting licence agreements in place with music publishers in preparation for the launch.
 

Canada sets music royalties at 10.2 cents for 1000 plays for streaming services

Tuesday 20 May, 2014

The Copyright Board of Canada issued a decision setting the royalties that Internet music streaming services and similar services need to pay for their use of sound recordings.

More specifically, the decision sets the royalty rates webcasters must pay to Re:Sound Music Licensing Company (Re:Sound) for the use of sound recordings in their non-interactive and semi-interactive webcasts.

The decision also set the royalties payable by the Canadian Broadcasting Corporation (CBC) as well as by non-commercial webcasters for their webcasting activities.

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