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MDIA 3307 Final Assignment Tyler Hoisington

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MDIA 3307 Music Licensing final presentation by Tyler Hoisington

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Page 1: MDIA 3307 Tyler Hoisington

MDIA 3307 Final AssignmentTyler Hoisington

Page 2: MDIA 3307 Tyler Hoisington

My Role - Student

Learning how the industry works, meeting people, and finding my place in a constantly evolving world.

Page 3: MDIA 3307 Tyler Hoisington

My Role - SXSW 2014

This semester's SXSW trip allowed me to meet industry professionals, learn how they work, and get closer with other current students who are trying to make their way in the music business.

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Growth in Digital Music Publishing

Digital music licensing is growing overall, including ad-based streaming services like YouTube, a great place for music videos and live concert videos.

Smartphones/mobile music are also continuing to grow, and smartphone proliferation is expected to be three times as high in 2016 as in 2012.

Subscription services like Spotify are seeing massive growth and new competitors, helping to drive down piracy rates without lawsuits.

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Synchronization

TV, movies, and video games have proven to be a good source of income and exposure for artists.

The use of “Baby Blue” in the finale of Breaking Bad helped to resurrect Badfinger's music, and sales of the Rolling Stones' “Gimme Shelter” shot up following the release of Call of Duty: Black Ops.

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Music Supervision

TV shows, films, and other forms of media using music synchronization employ music supervisors to oversee the licensing process and help decide what music to use.

This guy was just at Ohio University to talk about this job, which he performed on Breaking Bad and The Walking Dead, two of my favorite shows. He also seems like a generally pretty cool dude.

Thomas Golubic

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Sync/Supervision

Music Supervision and the synchronization process make up my favorite type of music licensing.

Synchronization deals are based on several factors such as the nature of use of a song, the duration used, and the potential for a song to be associated with another product. Because the impact on the copyright is never the same, the deals are always changing as well.

Synchronization provides income and exposure for artists, and music supervision is an interesting way to play a hand in both content creation and music promotion.

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Conflicts in the Publishing World

Not all music online is surveyed, and many artists/writers feel cheated by the systems used by their PRO's.

A new company called TuneSat is trying to solve this problem, and ID music that hasn't been paid for yet.

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Conflicts in the Publishing World

Internet and satellite radio exploit loopholes to avoid paying micro-royalties for music from before 1972.

This is controversial as many of these songs are by artists who are still alive but have retired, leaving them with little to no income.

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Conflicts in the Publishing World

PRO's force small venues to pay blanket licenses to provide royalties for covers performed on site.

Many small venues, including some that don't allow covers or can't afford the licenses are often forced out of business by fees and lawsuits.

Without some sort of compromise, many small upstart venues can be in trouble, hurting small businesses and local music.

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New Concepts - Ringtones

Licensing for ringtones is fairly complicated. Master ringtones require performance and master use licenses, while polyphonic tones are treated like a song cover.

Ringtones are an example of a short-lived source of licensing revenue, and show why it's important to quickly develop licensing policy for new technology.

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New Concepts - Sub-Publishing

Music Publishing companies use sub-publishers to administer their rights overseas.

Major companies can have between 15-20 sub-publishers, and smaller companies often contract out their overseas licensing to foreign companies.

Sup-publishing is important as it takes advantage of people who understand their native territory, and can market music and administer copyrights more effectively there than artists or domestic publishers.

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New Concepts – Marketing Strategies

Push – process of motivating the distribution channel to carry and promote a product/music.

Pull – appealing to consumers to encourage them to seek out and invest money in a product/music.

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My Future – Live Music

I plan to work in live music, planning and promoting shows or festivals that spread live performances as wide as possible and provide exposure for talented artists.

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Live Music Industry

Tour Management – involves routing, booking, and financial management during an artist's tour.

Venue/Festival Management – attracting viable acts, planning and promoting events.

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Live Music Industry (stats)

North American live music revenues grew from $7.3B in 2006 to $10.3B in 2011

Worldwide live music revenues grew from $16.6B to $23.5 in that time

Live Nation is the largest live music promoter in the US, and has introduced 360 degree deals for artists involving recording and publishing as well as live promotion

Estimated daily attendance at the world's 10 largest festivals totals nearly 850,000

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Revenue - Streaming

With improving Internet speeds and live broadcasting equipment, concerts can now earn revenue from live streaming and ad-based streaming after the show on sites like YouTube and Moshcam.

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Revenue – Live Recording

In addition to concert streaming, revenue can be earned from sales of live CDs and DVDs, as well as through digital channels like iTunes.

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Revenue - Sync

Though this is less likely, if I don't work with live music I'd like to work in music supervision. Synchronization interests me and the job requires knowledge of a large amount of music, a strong business sense, and working with teams from other forms of media.

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Change of View

This semester I finally bought into Spotify premium, and I have begun to put my faith into streaming services as the future of the music business.

Hopefully once these services reach mass adoption they will become a more viable income stream and continue to improve as a way for people to listen to music worldwide.

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Change of View

I have also seen many functioning methods for cutting back on piracy, some that should be pursued and others that pose threats.

Streaming is a good alternative that uses legitimately licensed music.

Web censorship, however, though proven to be effective, can prevent free communication and violate privacy, a serious cost to pay to fight piracy.

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Change of View

Learning about the adoption curve has helped shape the way I view music marketing.

Strategically, it isn't always best to try to reach as many people as possible, but instead it's best to reach the right group of early adopters and innovators.

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The Industry's Bright Future

After a period of decline, the music industry is regaining its footing.

New markets are constantly being discovered and exploited for growth.

Piracy is beginning to decline, making way for legitimately licensed music.

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Daft Punk - Evidence of Growth

In 2013, Random Access Memories became the all-time most pre-ordered album on iTunes and most streamed album on Spotify.

Breaking these records is tangible evidence that the digital music world is growing again, and music is continuing to be a viable business.

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Summary

The music business is, always has been, and always will be in a state of change. To succeed, one must be prepared to adapt quickly when change appears.

Music licensing provides many different potential sources of revenue, provided one can effectively market their music and make good use of publishers.

Right now, my role in the music world is small, but I'm taking steps to educate and develop myself and my skills for the future.