France is pushing for the creation of a European-wide regulator of digital platforms such as Google to sanction possible abuse of power, a French presidency official said on Tuesday, citing a dispute over EU copyright law as an example.
Bayern Munich, Germany’s most successful football club, has partnered with the blockchain-oriented venture of fan engagement firm, Stryking Entertainment. According to the agreement, Stryking, which is itself a subsidiary of Hong Kong-based Animoca Brands – a mobile games developer, will issue and distribute digital collectibles based on Bayern players.
On Waterfall, the artist makes 85% of the monthly subscription fee, which is set by the artist. Musicians can make their catalog of music, demos and more available to your fans and collect the streaming revenue.
The marketplace for publishers to trade rights globally, IPR License, has continued to expand its global permissions network by announcing that it has signed up all the publishers of Germany’s Holtzbrinck Publishing Group.
Now accounting for 75% of total music industry revenue, there’s no denying that streaming is now the dominant form of music consumption. That said, one question continues to plague the industry: where is all that revenue going, and how can artists get their hands on it?
The 30% that most streaming platforms retain is quite reasonable for a hosting fee (and much better than the 85% commonly seen in record deals), and any service that raises subscriber fees is likely to lose users to its cheaper competition. Low royalty rates may also be down to the deals which acts signed with their record labels.
There is an imbalance that exists between what is paid to the recorded music side of this industry and what is paid to songwriters; it’s not fair and equitable as it currently stands. In the old days it didn’t matter, because when I started, which was the old days, 90% of signed artists wrote their own songs.
Source: My Manifesto: Merck Mecuriadis
When Microsoft terminated its ebooks store — a service — it did not have to recall the books it had vended; instead, it terminated access to them. In essence, although the books continue to exist as intellectual property, those copies of the books just went away at the sole discretion of the provider, subject only to any contractual obligations.
Major record companies have essentially always operated as mini-banks, providing an advance (which is effectively a loan) to artists in exchange for the rights to the music the artist releases. But now, actual banking institutions, hedge funds, and private equity groups are sniffing around the music industry, seeing an investment in music Intellectual Property rights as a safe bet.
Many music publishers are thinking that they will just let the MLC clean up their data for them. Theoretically, that works if you want to slow implementation and the flow of royalty monies to you and your songwriters. And in this era, data maintenance should be a core capability of any copyright-based company.