In ThIs Issue - SoundExchange

Transcription

September 7, 2012
Vol 1 Issue 2
In This Issue
DIGITAL RADIO ROYALTIES MILESTONE . . . . . . . . . . . . . . . . 2
50,000 ARTISTS AND LABELS STILL UNCLAIMED . . . . . . . . 4
The Road to $1 Billion Infographic . . . . . . . . . . . . . . . 5
LEGISLATIVE UPDATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
New Music Seminar Rewind . . . . . . . . . . . . . . . . . . . . . . 9
SOUNDEXCHANGE ONLINE REGISTRATION:
NEW AND IMPROVED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
BACKSTAGE WITH JENNIFER PAIGE . . . . . . . . . . . . . . . . . . . 15
JUNIOR’S MUST HAVE GEAR . . . . . . . . . . . . . . . . . . . . . . . . . 18
FALL MUSIC FESTIVALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Featured conference:
Driven Music Conference . . . . . . . . . . . . . . . . . . . . . . . . 24
Follow us.
Like us.
Watch us.
SX EVENTS CALENDAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
www.soundexchange.com
DIGITAL RADIO ROYALTIES MILESTONE
In June, SoundExchange made its official announcement of a milestone more
than 10 years in the making: the distribution of its ONE BILLIONTH DOLLAR
to artists and labels. To celebrate the achievement, SoundExchange enlisted
the help of its independent artist friends such as Carbon Leaf, Jennifer Paige,
Miss Amy, Shane Hines, Vital, and others to share their stories through video
testimonials and quotes. (SoundByte readers are encouraged to visit their
websites and Facebook pages. If you haven’t heard of these names already,
you will soon.) As part of the campaign, SoundExchange created a number of
graphics to highlight the testimonials from the artists who have pledged their
support of SoundExchange.
SoundExchange also wanted to demonstrate that much of the work done inside
its walls is handled by real people who truly care about ensuring that recording
artists and record labels receive the money they are due when their music is
played in the digital space. The organization created “Behind the Check,” a video
featuring staff discussing in their own words how they work to support artists
September 7, 2012
Vol 1 Issue 2
2
and labels worldwide. The video is available to watch here. Be sure to
share with your family and friends on Twitter and Facebook!
“Reaching this milestone proves that the digital music industry is succeeding and
will continue to grow,” said Michael Huppe, president, SoundExchange. “We’re
optimistic about where the music industry is headed and see opportunity for
SoundExchange to help both creators and digital music services thrive. We’re
proud of this achievement and everything we’ve done to ensure that this money
makes its way into the hands of artist and labels.”
Artists and labels: If you haven’t already, share your story with SoundExchange.
And help SoundExchange continue to spread the good news about its milestone
achievement by sharing the news with your family and friends through social
media, email and word of mouth and support $1 billion more!
3
September 7, 2012
Vol 1 Issue 2
50,000 ARTISTS AND LABELS
STILL UNCLAIMED
Despite the investment SoundExchange continues to
make to register artists and labels, more than 50,000
artists and labels still have yet to claim their digital
performance royalties
SoundExchange recently published a list of more than 50,000 individuals with
unclaimed digital performance royalties. The organization released this list in
hopes of encouraging recording artists and record labels to register with them to
receive the millions of dollars of royalties that still remain unclaimed.
SoundExchange is the nonprofit that has been appointed by law to collect
royalties for recording artists, record labels and copyright owners every time
their sound recording is used on satellite radio, Internet radio and cable TV
music channels. As a result, the organization has millions in unclaimed digital
performance royalties waiting for those that have earned them.
“The digital music industry is continuing to grow, providing recording artists
and record labels with an increasingly beneficial revenue stream. We are doing
everything possible to make sure artists and labels know that and capitalize on
it,” said SoundExchange President Michael Huppe. “SoundExchange is releasing
this list in hopes of getting artists and copyright holders to claim their digital
SoundExchange regularly places ads
in hopes of getting artists and labels
to register. Above: an online ad from
January 2012.
performance royalties. We want to get the money out of our bank account and
into theirs – plain and simple.”
4
To register, visit http://sndx.co/register
September 7, 2012
Vol 1 Issue 2
The Road to $1 Billion Infographic
If you’ve ever wondered what the road SoundExchange has taken to distribute
$1 billion in digital royalties looks like, go no further. The organization has
created a road map that will take you from the beginnings of digital music to
SoundExchange’s distribution of its billionth dollar earlier this summer.
5
September 7, 2012
Vol 1 Issue 2
Legislative Update:
Performance Rights and Digital Royalties
Heat Up in Congress
Two bills are gathering attention on Capitol Hill and in the press surrounding
“performance royalties,” the payments radio companies make to artists and
music creators in exchange for broadcasting their songs.
Internet radio proponents are pushing the “Fair Internet Radio Royalties Act of
2012” draft legislation sponsored by Rep. Jason Chaffetz (R-UT). The bill claims
to erase differences in the calculation of payments from various digital music
services to performers and music creators. To do so, the legislation would reduce
royalty rates for Internet radio stations to the so-called 801(b) standard, which
is currently being used by only a handful of companies such as satellite radio
services and certain cable music services that were grandfathered into this lower
standard. In reality, the bill could drastically slash digital performance royalties
to artists, labels and everyone else in the creative community participating in the
digital performance revenue stream.
This bill also fails to address the most important disparity between music
services: AM/FM broadcasters enjoy a unique and decades-old exemption from
paying any performance royalties to recording artists and record labels. AM/FM
radio makes billions in advertising revenue every year without paying a single
penny to the musicians that created the songs they play. By ignoring this special
loophole for broadcast radio, the bill lets stand one of the greatest inequities in
the music industry today.
September 7, 2012
Vol 1 Issue 2
6
Ray Hair, international president, American Federation of Musicians (and a
SoundExchange board member), warned in a recent op-ed that the bill “could
set us back decades…[i]nstead of ensuring that terrestrial radio stations pay
musicians fairly…it would allow the digital platforms to pay musicians less too, at
rates far below market value.”
Fortunately, this attempt to drastically change the music landscape has prompted
a response: the draft “Interim Fairness in Radio Starting Today Act of 2012,” from
Rep. Jerrold Nadler (D-NY). This proposed legislation recognizes the need for
real equality in the calculation of payments by Internet music services without
slashing payments to music creators by adopting the “willing buyer/willing seller”
standard (currently used for Internet radio rates) for all digital platforms including
Internet radio, satellite radio and cable music services. The bill also takes a step
toward addressing terrestrial radio’s unfair exemption.
Under existing law, different types of services operating under the statutory
license (that SoundExchange administers) have their royalty rates set by different
rules. Internet radio companies like Pandora, and most of the more than 1,800
services that pay SoundExchange, pay based on a “willing buyer, willing seller”
standard. This standard directs the Copyright Royalty Board (CRB) to set royalty
rates representing the fair market value for the recordings that they use (i.e.
what a “willing buyer/willing seller” would negotiate if there were no statutory
license). These Internet radio, satellite and cable TV services are built upon the
content from this creative community, and it’s only fair that they pay what music
creators could get in the marketplace.
7
September 7, 2012
Vol 1 Issue 2
Ironically, satellite radio behemoth SiriusXM does not have its rates set by the
“willing buyer/willing seller” standard. Instead, because of a special interest
legislative loophole, SiriusXM’s rates are set at a below market rate by the CRB.
As a result, SiriusXM rates were slashed between 25 percent and 50 percent in
the last CRB proceeding.
Since that proceeding, Sirius and XM merged and now, according to Q2 2012
financial results, the combined company projects $3.4 billion in revenues, and
free cash flow of approximately $700 million this year. While SiriusXM maintains
a cheerful outlook, it was the creative community that subsidized SiriusXM’s
growth.
Now Pandora wants to pay less, too, even as it has thrived under the current
standard, celebrating a successful IPO and achieving explosive growth. The
company beat its financial guidance the past two consecutive quarters, and
with its Q2 FY 2013 earnings report, raised its full-year revenue forecast to $425
million to $432 million. Pandora has also increased its market share, with listener
hours up 80 percent year-over-year.
SoundExchange agrees with Pandora Founder Tim Westergren, who recently
testified to Congress that “it is time…to level the playing field and to approach
radio royalties in a technology neutral manner.” However, SoundExchange
believes that all digital radio services should compensate artists and creators at a
market rate. The organization also believes that the real injustice is the fact that
terrestrial radio pays nothing at all.
8
September 7, 2012
Vol 1 Issue 2
Nadler’s proposed “Interim Fairness in Radio Starting Today Act of 2012” could
begin to address these issues. In contrast, the so-called Internet Radio Fairness
Act could be a step backward for the creative community.
It’s SoundExchange’s mission to help support, protect and propel the digital
music industry forward. The organization stands behind the creative community,
and the interests of the signed and unsigned recording artists, and small,
medium and large record companies that it represents. But more importantly,
the organization works to support the work and efforts of the creative
community who dedicate their lives to the music and entertainment that we all
enjoy. For this reason, SoundExchange will continue to work toward supporting
the singular cause of ensuring the long-term value of music.
New Music Seminar Rewind
New Music Seminar:
SoundExchange Digital Broadcasting Summit
If there were any doubts about New Music Seminar’s (NMS) ability to draw a
crowd or bring passion back to the music industry, Tom Silverman and Dave
Lowry, founders of NMS, put those doubts to rest and proved they “still got it.”
This year the event, themed Appetite for Disruption, was fittingly held at
New York City’s Webster Hall — a venue which has a deep 140-year history
that parallels much of the music industry itself. NMS kicked off June 17 with
an opening night event that brought together more than 1,500 attendees
9
September 7, 2012
Vol 1 Issue 2
representing all corners of the music
business. Attendees were greeted
with a DJ set and their first of many
opportunities throughout the threeday event to foster relationships with
members from around the music
community. The sessions that followed
were packed with informative content from more than 165 speakers and live
performances from 100+ artists at over 15 different venues throughout the city
as part of the newly proclaimed “New York City Music Week.”
As title sponsors of the first NMS SoundExchange Digital Broadcasting Summit,
SoundExchange had the unique opportunity to bring together artists, record labels
and broadcasters – leaders from the entire creative community – all under one roof.
SoundExchange President Michael Huppe
helped to kick-off the event with a warm
introduction to the crowd. “While we remain
nostalgic for the golden days of radio and our
industry’s past, it’s important to remember
that the next chapter is just beginning. It has
been said ‘when you change the way you
While we remain
nostalgic for the
golden days of radio
and our industry’s
past, it’s important to
remember that the
next chapter is
just beginning.
~ Michael Huppe
SoundExchange President
look at things, the way things look change.’
And I believe that’s why we’re all here –
SoundExchange President Michael
Huppe addresses the crowd.
September 7, 2012
Vol 1 Issue 2
10
to take a new look and to shape and lay the foundation for the next generation
of the music industry.” New Music Seminar’s Tom Silverman also urged the music
community gathered there to take the future of the industry into their own
hands, saying, “It’s time for the music industry to stop being disrupted and start
being the disrupter.”
NMS also featured 18-minute intensives from industry leaders, including: Huppe;
Adam Klein, president and CEO, e-Music; Yancey Strickler, co-founder, Kickstarter;
and Tim Westergren, co-founder and chief strategy officer, Pandora. The event
also included a surprise Q&A interview with Sean Parker, executive general
partner, Founders Fund, moderated by Tom Silverman. The event closed with an
artist’s panel that featured Chuck D, Wyclef Jean, Hoodie Allen and more.
11
September 7, 2012
Vol 1 Issue 2
NMS Panel Recap: When Will Internet
Radio Make Over-the-Air Dollars?
Internet radio experts were bullish about the future of their industry during a
panel organized by SoundExchange at the New Music Seminar in New York City
on June 18. The panel, “When Will Internet Radio Start Making Over-the-Air
Dollars?,” was led by Kurt Hanson, publisher of the RAIN newsletter and CEO
of AccuRadio, and featured Mike Agovino of Triton Digital, Eyal Goldwerger of
TargetSpot, Rusty Hodge of Soma FM, Steven Kritzman of Pandora, and Carl
Rohling from TuneIn Radio.
Panelists discussed the mix of ways Internet radio services can make money,
highlighting advertising, subscription models and in some cases donations
from listeners.
“We’re still in the second inning of a nine-inning game,” Kritzman, Pandora’s
senior vice president of sales, said of the industry’s efforts to monetize Internet
radio. “[Ad] revenue follows the audience. If you look at the trends, [the
audience] is coming to Internet radio.”
Goldwerger agreed. “The market takes time to form, but it’s happening now,”
he said. Added Hodge of Soma FM, a listener-supported service: “There’s a
delayed reward – we’ve built up our audience over the years, and now we’re
seeing the rewards.”
12
September 7, 2012
Vol 1 Issue 2
The keys to increased advertising revenue are better audience measurement
tools, education and innovation, panelists said. Kritzman emphasized the
importance of a unified form of measuring radio audiences across all forms of
delivery in a way that can make ad agency customers comfortable buying spots
on Internet radio. Goldwerger also stressed educating marketing departments
about the value of digital audio and increasing innovation in how ad units are
sold and spots are targeted.
Panelists discussed the importance of Internet radio in the car. “We see that as a
big part of our future,” Pandora’s Kritzman said. “We’ve been working on that for
years, thinking about that since almost before we had an audience.”
TuneIn’s Rohling focused on the importance of voice-activated tools for using
Internet radio in the car. “It’s absolutely critical that [the user’s interaction with
Internet radio] be simple,” he said. “It’s not simple yet.”
Hanson set the stage for the discussion by looking back at the history of radio.
Radio has enjoyed a series of “golden eras” over time, he said. After the last
great era of the 1980s into the 1990s, the consolidation of broadcast radio
companies led to limited listener choices and related listener fatigue. But radio
is entering another golden age, he said, one marked by personalization, variety
(because of unlimited channel capacity), low spot loads (“great for the consumer,
great for advertisers”), and ubiquity (because consumers can listen on many
more types of devices in their home, on the street, at the office or in the car).
13
September 7, 2012
Vol 1 Issue 2
SOUNDEXCHANGE ONLINE REGISTRATION:
NEW AND IMPROVED
In early July, SoundExchange launched a new online registration system
designed to streamline the process for recording artists and record labels to
sign up and/or become a member with SoundExchange. The system includes
several new features that will enhance and increase the ease of registering with
SoundExchange, including:
• An Interactive Guide — designed to guide the registrant’s experience by
asking more focused questions that will result in better quality registrations
and ultimately, more accurate accounts in the SoundExchange database.
• Repertoire Claiming Tools — A majority of registrants will now be able to
claim their sound recording repertoire directly, with more accuracy, using the
tools provided in the online registration system.
• Ability to create multiple accounts — the process will now allow users to
easily create multiple accounts for artists at a given time, making it much
easier for an artist manager or band member to get everyone registered.
• Database Interaction — the new system will also import data directly into
SoundExchange’s current royalty administration system which will result in
efficiencies.
Make sure to check out the new system and if you have artist, comedian or rights
owner friends, pass along the link to the new registration!
14
September 7, 2012
Vol 1 Issue 2
BACKSTAGE WITH JENNIFER PAIGE
Though she may be best known for
her explosive hit “Crush” that was
released as the first single from her
debut album in 1998, Jennifer Paige
has certainly enjoyed long-term
success. In fact, her story, talent
and career prove just that.
Born in Marietta, Ga., Paige started
performing at the age of five. She
and her brother, a musician himself
and now a producer in Nashville,
Tenn. would perform as young
kids; a practice that continued as
they grew up.
The decision to make music her full time career was an easy one for Paige. Her
family was supportive and her parents gave her both advice and confidence as
she pursued her dreams. For Paige, a career in the music industry was not the
strangest choice she could have made. Her family was musical and her aunt had
previously worked in the business. Shortly after high school, Paige decided to go
on the road and make music her career.
15
September 7, 2012
Vol 1 Issue 2
Paige attributes her early success to a combination of hard
work and determination, determination, luck and knowing
the right people. After a stint performing in Las Vegas,
Paige moved to Los Angeles where she made the
connections to the people who would produce her first
album. That album, which spawned the ever-popular
“Crush,” propelled Paige into superstardom.
Now living in Nashville, Paige is beginning work on a
The Fury has been great
for my personal relationship
with music. It helped reinvigorate
my creativity and we’re looking
forward to releasing our first
album sometime this fall.
new solo album (she just returned from England where
she was working with acclaimed producer Eliot Kennedy). She is also spending
her time finishing up a brand new project with singer/songwriter Coury Palermo.
After meeting in 2008, Paige and Palermo began writing songs together. What
began as writing sessions in their spare time soon took the shape as a band the
two now call “The Fury.” The name came about when Paige and Palermo were
talking about how overwhelming life can be. They wanted their music to help
calm and bring a sense of peace to the chaotic life.
The Fury is Paige’s first indie project: “The Fury has been great for my personal
relationship with music. It helped reinvigorate my creativity and we’re looking
forward to releasing our first album sometime this fall.” She describes the music
as “organic pop” and as far as you can get from self-indulgent. According to
Paige, together the duo’s voices “blend like family.” Following the release of their
debut album, Paige and Palermo hope to get their songs featured in film and
television and plan to spend time on the road promoting their music.
16
September 7, 2012
Vol 1 Issue 2
With the album release coming soon, Paige and Palermo will be able to use
the sprawling digital landscape to spread their music in a fashion that was not
available when Paige released her first album in 1998. She says that the digital
revolution, while overwhelming with the sheer number of digital services now
available to consumers, has ultimately changed the game. “There are more
opportunities for new fans to stumble across both new and old music, and the
possibilities for what can be done with music are endless,” said Paige.
Paige also notes the importance of SoundExchange within the continued growth
of the digital landscape and digital music. With her royalty check, Paige was able
to fund the tail end of the forthcoming album and obtain the proper mixes to
help complete the release.
As many independent artists do, Paige has taken her royalties and invested them
in the best place possible: herself. Far removed from her early days in Vegas,
Paige is now betting on herself and her music. This is one gamble that is likely
to pay off.
For more on Jennifer Paige, visit her website. And for more on The Fury,
click here.
17
September 7, 2012
Vol 1 Issue 2
JUNIOR’S MUST HAVE GEAR
Jeff “Junior” Bryce is director of Data Management for SoundExchange and a
Jeff “Junior” Bryce is director
musician in the Washington D.C. area.
of Data Management for
As a musician, Junior has a keen eye for music equipment. He’s picked out his
favorites and shares his “must haves” with you here, exclusively in Soundbyte.
Guitar – Martin D28
SoundExchange, where he heads
up an effort to ensure artists,
labels and rights holders receive
payment for their work – even
when the data for a specific
song or album was reported
The Martin D28 is the classic Dreadnought-style
inaccurately to SoundExchange.
guitar that is a standard axe for Americana, notably
He is a graduate of the University
Bluegrass and Country. It has been in production
of Maryland with a degree in
for several decades, and is known for its enormous
sound, resonant bass and consistent intonation.
Songwriters influenced by the likes of Hank Williams,
Sr., might enjoy composing on this instrument.
music education. Junior has
played saxophone with a number
of rock and jazz bands including
Blue Miracle, All Mighty Senators
and Jarflys, and has toured
Jimmy Page has been known to strum one and Dierks
nationwide. He continues to play
Bentley plays the D-28 (similar to his new custom
in the Washington, D.C. area.
signature artist series Martin HD). The current
edition has optional electronics, which some players
consider to be sacrilegious, though it’s there if you prefer it to miking. While it’s
an investment at $2,000, it should be in the arsenal of any acoustic guitar player
looking for a serious American sound.
http://www.martinguitar.com/component/k2/item/204-d-28.html?Itemid=6
18
September 7, 2012
Vol 1 Issue 2
Guitar Pedal – Line 6 DL4
This is an item guitarists interested in
digital delay effects should consider.
This guitar pedal enables guitar players
to incorporate both vintage and new-age sounds into their music. The DL4 also
contains onboard Tap Tempo control and brief sample looping. Players needing
additional control and flexibility might want to add on an extra expression
pedal, but most players will find that it works well as a stand-alone device.
Choosey shoppers might prefer the less expensive Boss DD-20, which has similar
adjustable delay features. The DD-20 has the classic Boss stompbox design, and
is known for its sturdy, road-worthy construction. http://line6.com/dl4/
Keyboard Synthesizer – Minimoog Voyager
Here’s a device with an endless array
of applications. It’s a 44-key analog
synthesizer with Moog’s TouchSurface controller design, and includes
authentic retro-psychedelic sounds
from ‘70s Progressive Rock and Funk.
It includes modern amenities you’d
expect, such as MIDI support and a USB port, and a rack-mountable trim. A
hugely flexible and popular instrument, it has won numerous editorial awards
since its first deployment 10 years ago. It’s known for its massively tweakable
functionality and iconic Moog style, making its way onto recordings by Moby
and Deadmau5, among many others. http://www.moogmusic.com/products/
minimoog-voyagers/minimoog-voyager-electric-blue-edition
September 7, 2012
Vol 1 Issue 2
19
Compressor – PSP Vintage Warmer2
The PSP Vintage Warmer2 compressor is a popular application for consolidating
and compressing drum sounds into dance music. Dance beat makers use it to
give the drums extra power and snap, and can be used as part of a Skrillexlike sound if you are so inclined. The amount of compression to use is always
a matter of taste, and a source of much discussion, but when you need to
compress, the Vintage Warmer2 is a great option. http://www.pspaudioware.
com/plugins/dynamic_processors/psp_vintagewarmer2/
Loop Stations – Boss RC 300 Loop Station
To loop, or not to loop? Some players cast a side eye upon the phenomenon,
where live musicians run loops during performances to add missing elements,
such as a bass or drums, meaning fewer mouths to feed and fewer gigs for the
overdubbed instrument. Other performers apply loops to explore a variety of
sonic possibilities, either solo or within an ensemble, and use the technique to
add to the player’s harmonic and rhythmic palette. In the right hands, or feet,
loops can add beauty and flexibility to a performance. And either way, players
often like to use loop stations in the woodshed, for drilling song sections or
tightening timing. The Boss RC 300 Loop Station is a useful looping tool that
supports three independent stereo tracks, and .WAV file input and export, with
presets and auxiliary input for sampling. It comes complete with phantom power
for acoustic instruments, such as horns and voices, and has a handy auto-record
feature for when you don’t have enough limbs to operate your machinery.
http://www.bossus.com/gear/productdetails.php?ProductId=1182
20
September 7, 2012
Vol 1 Issue 2
FALL MUSIC FESTIVALS
Tis’ the Season: Fall is Music Festival Time!
One of the best things about
fall for music lovers are outdoor
music festivals. There’s nothing like
gathering with like-hearted music
aficionados and spending an entire
day, or two or three reveling with the
cool fall breeze just to be quenched
by the sound of your favorite artist
or band. So go ahead, grab a backpack, a light sweater and water, and travel across
the U.S. to find out what the fall music festival experience is all about!
Fall Music Fests
Deluna Fest 2012
Where: Pensacola Beach, Fla.
When: September 21–23
The headliners: Pearl Jam, Foo Fighters, Florence + the Machine, Band of Horses,
Ben Folds Five, Guided by Voices, Dwight Yoakam, Fishbone, Joan Jett and the
Blackhearts, Superchunk
Atlanta’s Music Midtown Festival
Where: Atlanta, Ga.
The headliners: Pearl Jam, Foo Fighters, Florence + the Machine, T.I. The AVETT
21
Brothers, Ludacris, Van Hunt
September 7, 2012
Vol 1 Issue 2
iHeart Radio Music Festival
Where: Las Vegas, NV.
The headliners: Taylor Swift, Aerosmith, Rihanna, Usher, Bon Jovi, Lil Wayne,
Green Day, Swedish House Mafia, No Doubt, Brad Paisley, Pitbull, Deadmau5,
Miranda Lambert, Enrique Inglesias, Linkin Park, Jason Aldean, P!NK, Mary J.
Blige, Calvin Harris, Shakira
Virgin Mobile FreeFest
Where: Columbia, MD.
When: October 6
The headliners: TBA
Fall Music Festival Survival Guide: What to Pack
1. Backpack: To carry all of your supplies around, comfortably.
2. Water: To stay hydrated in the hot sun.
3. Sunscreen: To protect your skin from being under the sun for 8+ hours if heading south.
4. Sweater: To stay warm on chilly fall nights.
5. Cash: Vendors usually prefer this method of payment.
6. Camera: To capture those monumental moments.
7. Blanket or Chairs: So you can take chill breaks and not be on your feet the entire time.
8.Sunglasses: To protect your eyes from the sun and also to heighten your coolness factor.
9. Comfortable Shoes: You’ll be on your feet ALL DAY and will enjoy yourself
more if you were comfortable.
22
September 7, 2012
Vol 1 Issue 2
Austin City Limits
Where: Austin, TX.
When: October 12–14
The headliners: Red Hot Chili Peppers, Neil Young and Crazy Horse, The Black
Keys, Jack White, Florence + The Machine, The Avett Brothers, Iggy & The
Stooges, AVICII, BASSNECTAR, The Roots
Treasure Island Music Festival
Where: San Francisco, CA.
The headliners: Girl Talk, M83, The XX, The War On Drugs, Dirty Ghosts,
Public Enemy
The Voodoo Experience
Where: New Orleans, La.
The headliners: Green Day, Neil Young & Crazy Horse, Skrillex, Justice,
Tomahawk, Bootsy Collins
23
September 7, 2012
Vol 1 Issue 2
FEATURED CONFERENCE
Driven Music Conference
Continuing the success of last year’s Driven Music Conference in Atlanta,
the event will return to Twelve Hotel Atlantic Station in Atlanta, Ga. from
October 5-7, 2012.
Featured Panelists include:
• Atlantic Records VP of A&R, Steve “Stevo” Robertson
• Warner /Chappell Music A&R, Marc Wilson
• NBC TV’s The Voice Talent Producer, Peter Cohen
•Alternative Press and AP Tour CEO & Founder, Mike Shea
Way to go, Driven
Music Conference!
~Atlantic Records VP of A&R,
Steve “Stevo” Robertson
Artists of all genres: Submit now by visiting www.drivenatlanta.com for your
chance to be selected as a Showcase Performer! Receive one free Panel Pass,
just for submitting!
Vendor / Sponsors: Visit www.drivenatlanta.com to email us or chat with us
Seriously...
Amazing!
~Alternative Press and AP Tour CEO &
Founder, Mike Shea
live about showcasing your product, service or brand for the industry at the
conference. Among others, our current sponsors and partners include Atlantic
Records, Warner/Chappel Music, NBC TV’s The Voice, Alternative Press, SESAC,
NARIP, ReverbNation, The Recording Academy.
Questions? Email or chat live at: www.drivenatlanta.com
Discount code for SoundExchange members: se10off to save $10 off your order
September 7, 2012
Vol 1 Issue 2
24
SX EVENTS CALENDAR
RAIN Summit Dallas
Race for a Cause 8K
Dallas, Texas
September 18, 2012
Colin Rushing, General Counsel, on “Music Licensing
Roundtable” panel
Arlington, Virginia
October 14
World of Bluegrass Week (WoB)
Nashville, Tennessee
September 24–30
Bryan Calhoun on “Face-to-Face with the PROs” panel
Digital Music Forum: West
Los Angeles, California
October 3–4
Discount code for SoundExchange members:
SX15 for 15% off registration
Driven Music Conference
Atlanta, Georgia
October 5–7
Discount code for SoundExchange members:
se10off to save $10 off your order
San Francisco MusicTech Summit XI
San Francisco, California
October 9
Discount code for SoundExchange members: SX
September 7, 2012
Vol 1 Issue 2
CMJ2012
New York, New York
October 16–20
Discount code for SoundExchange Members: CMJSX12
The Entertainment and Sports Law Section of
the State Bar of Texas (TESLAW) 22nd Annual
Entertainment Law Institute
Austin, Texas
October 25–26
Brad Prendergast, Senior Counsel, on “Royalty
Revenue from Digital Distribution of Music and Sound
Recordings” panel
National Student Electronic
Media Convention
Atlanta, Georgia
October 25–27
Travis Ploeger, Manager of Licensing and Enforcement,
on “Webcasting and Broadcast Royalties for Radio/
Web Stations” panel
25

In ThIs Issue - SoundExchange

Transcription

Similar documents

View the PDF - SoundExchange

October 2014 - SoundExchange

View the PDF - SoundExchange

August 2016 - SoundExchange

here - SoundExchange

View the PDF - SoundExchange

Independents Argue Streaming Rate Difference Between

October 2014

PAIGE DE PONTE