The report identifies five key ‘barriers’ for music managers and their clients, including access to Finance; Support for Mental Health; Diversification of Skills; Transparency on Income Streams and Revenue and New Commerical Models. One of the the report’s recommendations is the need for an exploration of ‘new commercial models between managers and their clients, as well as those with key industry partners’.
There are more people now talking about music-generating AIs as tools for musicians to use, rather than existential threats to their livelihoods. But if there’s one obvious area where AI could replace humans (sometimes, at least) it’s production music.
Reps. Anna Eshoo and Zoe Lofgren, California Democrats representing the region home to Facebook and Google, have been tech-industry allies. Their 132-page bill would give Americans new rights to control how online services use their personal information and create a U.S. Digital Privacy Agency to write and enforce privacy rules.
PRS for Music is the latest company to join the analytics bonanza with the launch yesterday (5 November) of a bespoke royalty dashboard for writers, their managers and publishers. It is available to all PRS members through their online account profile, and covers streams, downloads, broadcast, live and business usage of their works.
The diverging paths of the music and video subscription markets tell us much about the impact of rights fragmentation on innovation. In music, three major rights holder groups control the majority of rights and thus can control the rate at which innovation happens.
For much of this century, the content industry’s antipiracy focus has been on file-sharing. First it was Napster and its progeny, then ISPs willfully blinding themselves to copyright infringement. Now, streaming hubs are growing while fears of illegal downloads fade. This evolution is sparking a shift in thinking.
Pharrell says the saga “hurt my feelings, because I would never take anything from anyone. It really set me back.” He admits there was a shared “feeling” between his track and Gaye’s, but that’s as far as it went. To that Rubin adds, “A feeling is not something you can copyright.”
Since launching the micro-membership model in November 2018, the site has garnered over 10,000 subscribers, and Sebastian expects that the election year will drive up that number even higher. Additionally, in October, Pierce’s content was up 60% in views year over year.
VEVA Live focuses on real-time turnaround. All of the hi-res audio and metadata captured from the night is immediately accessible via VEVA’s platform, Asset Connect. Working directly with the FOH engineer, VEVA is able to connect the entire artist team — ranging from management, their label, marketing, and social media teams — to quickly access the material and decide how to exploit it.
Major Internet platforms such as Facebook, Twitter and YouTube are taking proactive measures to keep offensive content off their services. According to the Motion Picture Association, online services can use similar systems to proactively remove pirated content too. That would be even easier since it doesn’t raise the same speech concerns, the group’s senior vice president notes.