Written Evidence Submitted by Willowhayne Records

Total Page：16

File Type：pdf, Size：1020Kb

Written evidence submitted by Willowhayne Records The majority of streaming providers pay per track (whatever the genre), so a track in the pop genre that lasts 2 or 3 minutes receives the same revenue as a classical movement, the majority of which are much longer. This does not put classical labels on an even playing field. Although IDagio and Primephonic do pay by track length, these services are still in their infancy. You can see from the tables above that the streaming services are not paying nearly enough to their artists and labels – this will surely lead to the demise of smaller labels such as our group unless the current payment structure radically changes soon. There is a wealth of rarely or previously unrecorded classical music that is often championed by smaller labels such as us, and this repertoire could remain unrecorded for the reasons given above. We look forward to reading the Select Committee’s findings. Mark Hartt-Palmer Willowhayne Records 13th November 2020 REPRESENTATION FROM WILLOWHAYNE RECORDS TO DCMS SELECT COMMITTEE I am the Managing and Artistic Director of Willowhayne Records, an independent record label that was formed in 2012. We also represent a growing number of other independent labels (currently 28) for whom we offer distribution services. Our digital distribution has been handled by Naxos of America, since late 2016. They send us monthly digital reports in which every stream or download is reported to us – the current total number of rows stands at just under 950,000. A report that covers January to July 2020 data is shown below: STREAMING Service Provider No. of Streams Average Payment per Track (pence) Amazon Premium 5769 0.0089 Amazon Prime Music 710 0.0048 Apple Music 61943 0.0095 AWA 35 0.0069 Classical Archives 817 0.0031 Deezer 3919 0.0040 Google Subscription 4369 0.0075 HighResAudio 76 0.0049 Idagio 3062 0.0141 iHeard OnDemand 1 0.0066 JIOSAAVN 1138 0.0030 KKBox 7334 0.0492 Naxos Music Library 10788 0.0431 Naxos Music Library Jazz 3 0.1312 Neurotic Music 368 0.0017 Pandora Media 12918 0.0180 Primephonic 465 0.0156 Qobuz 1900 0.0154 Rhapsody / Napster 3394 0.0647 Roxi 5 0.0477 SAAVIN 764 0.0022 Spotify 532284 0.0070 Tidal 51487 0.0053 Yandex 3855 0.0013 YouTube Music 44108 0.0286 TRACK DOWNLOAD Service Provider No. of Downloads Average Payment per Track (pence) Amazon mp3 39 0.3516 e-Onkyo 1 0.7795 Google Music 15 0.3344 iTunes 94 0.3306 J Pay 3 0.3619 Presto Classical 38 0.5132 ALBUM DOWNLOAD Service Provider No. of Downloads Average Payment per Album (£) Amazon mp3 25 3.2283 e-Onkyo 1 6.5379 Google Music 2 3.0493 HDTracks 3 5.3867 HighResAudio 11 4.89 iTunes 53 3.0863 Presto Classical 35 4.0168 ProStudioMasters 4 4.3390 Qobuz 9 4.50.

Copy Link

Recommended publications

The Yale-Classical Archives Corpus
University of Massachusetts Amherst ScholarWorks@UMass Amherst Music & Dance Department Faculty Publication Music & Dance Series 2016 The ale-CY lassical Archives Corpus Christopher William White University of Massachusetts Amherst Ian Quinn Yale University Follow this and additional works at: https://scholarworks.umass.edu/music_faculty_pubs Part of the Music Commons Recommended Citation White, Christopher William and Quinn, Ian, "The ale-CY lassical Archives Corpus" (2016). Empirical Musicology Review. 17. http://dx.doi.org/10.18061/emr.v11i1.4958 This Article is brought to you for free and open access by the Music & Dance at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Music & Dance Department Faculty Publication Series by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Empirical Musicology Review Vol. 11, No. 1, 2016 The Yale-Classical Archives Corpus CHRISTOPHER W M WHITE [1] The University of Massachusetts, Amherst IAN QUINN Yale University ABSTRACT: The Yale-Classical Archives Corpus (YCAC) contains harmonic and rhythmic information for a dataset of Western European Classical art music. This corpus is based on data from classicalarchives.com, a repository of thousands of user- generated MIDI representations of pieces from several periods of Western European music history. The YCAC makes available metadata for each MIDI file, as well as a list of pitch simultaneities (“salami slices”) in the MIDI file. Metadata include the piece’s
[Show full text]
Classical Music Consumption in Streaming Platforms, It Is Necessary to Present the Scenario and the Factors That Could Make This Study Relevant
Classical music and identity construction in the digital age A Consumer Culture Theory research Master Thesis by Mirabay Romero Martínez 121940 Management of Creative Business Processes Msc in Social Science Copenhagen Business School Date of submission, 14th May, 2020 Supervisor: Szilvia Gyimothy Mørup-Petersen Standard pages: 76, characters: 172.316 1 Acknowledgments I would like to thank the people that have somehow contributed to the development of this paper. First and foremost, I would like to thank my supervisor, Szilvia Gyimothy, for her guidance through each stage of the process. Her encouragement and interest on the topic have given me the necessary motivation to make this thesis process an engaging journey. I would like to thank also all the great interview participants, for their time, their valuable insights, and the interesting discussion about music. Last but not least, I would like to thank all my beloved ones, for moral support and patience during these months of work. Especially, I need to mention my great friend Silvia because this accomplishment would not have been possible without her, “compañera, we did it!”. 2 Abstract This research attempts to shed light on the consumption of classical music in the digital age. Several studies have shown concern about the limitations of algorithm-based streaming services regarding music niche genres compared with mainstream genres. The purpose of this study is to contribute to consumer culture research in the music industry and analyze the role of music streaming platforms as a marketplace resource for the construction of classical music enthusiasts’ identity. For that purpose, a qualitative research process has been carried out based on interviews with classical music enthusiasts as the primary data collection method.
[Show full text]
NYME 2017 Attendee List.Xlsx
NYME 2017 Attendee List First Name Last Name Job Title Company Tiombe "Tallie" Carter, Esq. CEO Tallie Carter Law Esq Wesley A'Harrah Head of Training & Development, Tools Reporting Music Ally Michael Abitbol SVP, Business & Legal Affairs, Digital Sony/ATV Music Publishing Dan Ackerman Section Editor CNET Andrea Adams Director of Sales FilmTrack Andrew Adler Director Citrin Cooperman Stella Ahn Turki Al Shabanah CEO Rotana TV Philip Alberstat Chief Operating Officer Contend Jake Alcorn MBA Student Columbia Business School Brianna Alexander Sarah Ali Operation and Support Streamlabs June Alian Publicity Director Skybound Entertainment Graham Allan EVP, Operations & Consulting KlarisIP Karen Allen President Karen Allen Consulting Susan Allen Attorney Advisor (Copyright) United States Patent and Trademark Office (USPTO) Michele Amar Director / CEO Bureau Export / France Rocks Danny Anders CEO & Founder ClearTracks Jeff Anderson Chief Strategy Officer and GM Bingo Bash - GSN Games Mark Anderson VP Global Sales LumaForge Stephen Anderson Business Development & Partnerships Octane AI Alec Andronikov CEO The Visory Manny Anekal Founder and CEO The Next Level and Versus Sports Debbie Anjos Marketing Manager Gerber Life Insurance Farooq Ankalagi Sr. Director Mindtree Lauren Apolito SVP Strategy & Business Development Rumblefish/HFA Phil Ardizzone Senior Director, Sales IAB Mario Armstrong Chief Content Officer The Never Settle Show Kwadjo Asare Consultant FIGHTER Kwasi Asare CEO Fighter Interactive Nuryani Asari Jem Aswad Senior Music Editor Variety
[Show full text]
Shopping for Classical Music Online
Shopping for Classical Music Online The primary focus of this article concerns finding online sources for purchase of so- called physical media—CDs, SACDs, Blu-Ray Audio discs—and not so much about digital downloads. For those readers interested in digital files and computer audio, I’ve included that as a separate discussion at the end. The ‘online’ part of this essay’s title is really an unnecessary add-on because when was the last time you’ve been in an actual store that sold classical CDs? Today everything is done online, so no need for the qualifier. The last time I was at Barnes and Nobles they only had 26 so-called classical selections which were mostly cheap compilations, crossover titles, and one CD by Bang Bang. I remember the days when I ran the classical section of a large record store and we had sixty titles in the bin just for Beethoven’s Ninth. But I’m not complaining since, in many ways, shopping is now easier both in terms of ordering from the comfort of your home at any time of the day or night, but also in being able sample recordings and find exactly what appeals to your own tastes. I’ve explored several online subscription streaming services, and I continue to buy CDs (and SACDs and DVDs) from a variety of sources which I’ll discuss here. The first question many ask when they see my wall-to-wall room with 6,000 CDs and separate storage room with 3,000 LPs is when am I going to get rid of all this museum stuff and go digital? Well, the answer is probably never.
[Show full text]
Licensing Rules Repertoire Definition
CIS14-0091R40 Source language: English 30/06/2021 The most recent updates are marked in red Licensing Rules Repertoire Definition This document sets out the repertoire definitions claimed directly by European Licensors in Europe and in some cases outside Europe. the repertoires are defined per Licensor / territory / types of on-line exploitations and DSPs with starting dates when necessary. Differences with the last version of this document are written in red. The document is a snap shot of the current information available to the TOWGE and is updated on an ongoing basis. Please note that the repertoires are the repertoires applied by the Licensors and are not precedential nor can they bind other licensing entities. The applicable repertoire will always be the one set out in the respective representation agreement between Licensors. Towge best practices on repertoires update are: • to communicate an update preferably 3 months but no later than 1 month before the starting period of the repertoire in order to allow enough time for Towge to communicate a new "repertoire definition document" to both Licensors and Licensees, which will allow these to adapt their programs accordingly • to not re-process invoices that have already been generated by Licensors and processed by Licensees Date of Publication Repertoire Licensing Body Pan-European Repertoire Definition DSPs Use Type Start Date Notes End Date Contact licensing Apr-19 WCM Anglo-American ICE Warner Chappell Music Publishing repertoire (mechanical and CP rights) licensable under the PEDL arrangement where the 7 Digital Ltd all digital 01/01/2010 Steve.Meixner repertoire author/composer of the Musical Work (or part thereof as applicable) is non-society or a member of PRS, IMRO, ASCAP, BMI, Amazon Music Unlimited (Steve.Meixner@u SESAC, SOCAN, SAMRO or APRA.
[Show full text]
Marketing Plan
ALLIED ARTISTS MUSIC GROUP An Allied Artists Int'l Company MARKETING & PROMOTION MARKETING PLAN: ROCKY KRAMER "FIRESTORM" Global Release Germany & Rest of Europe Digital: 3/5/2019 / Street 3/5/2019 North America & Rest of World Digital: 3/19/2019 / Street 3/19/2019 MASTER PROJECT AND MARKETING STRATEGY 1. PROJECT GOAL(S): The main goal is to establish "Firestorm" as an international release and to likewise establish Rocky Kramer's reputation in the USA and throughout the World as a force to be reckoned with in multiple genres, e.g. Heavy Metal, Rock 'n' Roll, Progressive Rock & Neo-Classical Metal, in particular. Servicing and exposure to this product should be geared toward social media, all major radio stations, college radio, university campuses, American and International music cable networks, big box retailers, etc. A Germany based advance release strategy is being employed to establish the Rocky Kramer name and bona fides within the "metal" market, prior to full international release.1 2. OBJECTIVES: Allied Artists Music Group ("AAMG"), in association with Rocky Kramer, will collaborate in an innovative and versatile marketing campaign introducing Rocky and The Rocky Kramer Band (Rocky, Alejandro Mercado, Michael Dwyer & 1 Rocky will begin the European promotional campaign / tour on March 5, 2019 with public appearances, interviews & live performances in Germany, branching out to the rest of Europe, before returning to the U.S. to kick off the global release on March 19, 2019. ALLIED ARTISTS INTERNATIONAL, INC. ALLIED ARTISTS MUSIC GROUP 655 N. Central Ave 17th Floor Glendale California 91203 455 Park Ave 9th Floor New York New York 10022 L.A.
[Show full text]
Streaming Audio and Video
STREAMING AUDIO AND VIDEO Avpals AUDIO A REVOLUTION IN SOUND ■ How much does it cost ■ How much data does it use ■ Can I use it at two of my homes ■ Does it work in my vehicle ■ Can a friend use my account ■ What services are there available ■ Can I use it when overseas ■ What about all my CD’s (see notes handout) Spotify ■ The world’s number one streaming music service ■ 30 million tracks ■ Sort be artist, album, genre, podcasts and playlists ■ Save musically on your device – great for travelling ■ 20,000 new tracks added each day ■ Transportable across countries – same music everywhere ■ Costs ■ Visit Spotify.com Google Play Music ■ Made by the owners of youtube ■ More than 30,000,000 tracks – minus a few ■ Easy to access but no locally saved music ■ You need a google account ■ Upload your own music ■ Costs ■ Visit Google Play Music here Apple Music ■ Second service created after Spotify, launched in 2015 ■ Popular with Apple device owners ■ The usual 30,000,000 tracks ■ Soon to be linked with Apple streaming video ■ Can save all your music to iCloud if required ■ Free with some Optus internet bundles ■ Visit Apple music here Youtube Music ■ Music tracks and music videos ■ Offline Mixtape that automatically downloads a playlist of between 20 and 100 songs ■ Search finds tracks even if your spelling is awry ■ Downloadable music if no internet – good for gray nomads Other Services ■ Deezer – Ideal for those with children – Free with ads, six skips a month ■ Tidal – Highest fidelity, just as it comes off a CD – Expensive – Music videos x 130000 ■ Primephonic – Specially for classical music lovers INTERVAL VIDEO NETFLIX ■ Simple and easy to use.
[Show full text]
2017 Music Business Attendee List Renaissance Hotel, Nashville TN May 15-‐18, 2
2017 Music Business Attendee List Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES 7digital Amazon (cont’d) Paul Langworthy Rosie de la Mare CCO Sr. Content Program Mgr. James Priestley Dave Dederer VP, Business Development Head of Programming Jamie Ross Kristin Durie Head of Music Partnerships Sr. Label Relations Mgr. John Farrey All Media Supply AssoC. Label Relations Mgr. Robbie Defreitas Josh Fein VP Sr. Mgr., Marketing & ACquisition Todd Oenbrink Chris Graham Sales Dir. Sr. Artist Relations Mgr. Sean Hallarman Alliance Entertainment Music Editorial Mgr. MarC Bartlett Jessi Liang Sr. VP, Sales & Marketing Technical ACCount Mgr. Terri Borders Nicole Lund Talent Aquisition Sr. Label Relations Mgr. Jason Bright Dan Minamide VP, Walmart ACCount Exec. AssoC. Label Relations Mgr. Ken Glaser Lisa Nicholas-RitsCher VP, Sales Content Editor, Media & Movies Thuy Ngo Elizabeth O'Brien VP, Marketing DIRECT2U Publicist Bruce Ogilvie Beth O'Brien Chairman Public Relations Laura Provenzano Amy Penka Sr. VP, PurChasing & Marketing Ops. Mgr. Jeff Walker Aly Proctor CEO Music Vendor Mgr. Ryan Redington Amazon Dir., US Digital Music Natasha Bishop Jeff Reguilon Music Sales Mgr. Mgr., Content Programming Nathan BraCkett Elizabeth Reynolds Sr. Editorial Mgr. Brand Specialist, Music Jill Chapman Kelly Rich Digital Media Ops. Mgr. Sr. Label Relations Mgr. Cindy Charles Jack Rutledge Head of Business Development Sr. Mgr., Catalog & Selection Anthony Coorey Andrew Sexton Partner Marketing Mgr. Label Relations Mgr. *speaker 1 2017 Music Business Attendee List Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES Amazon (cont’d) Apple Music (cont’d) Adam Steiner Gregory Mead Sr. Content ProduCer ProduCt Marketing David Stuart Karen Park Joh AssoC.
[Show full text]
Federal Register/Vol. 84, No. 24/Tuesday, February 5, 2019/Proposed Rules
Federal Register / Vol. 84, No. 24 / Tuesday, February 5, 2019 / Proposed Rules 1661 Insurance Corporation Improvement Act Dated at Washington, DC, on December 18, statutory deadlines set forth in the of 1991, 12 U.S.C. 1828(o), prescribes 2018. Music Modernization Act, no further standards for real estate lending to be By order of the Board of Directors. extensions of time will be granted in used by FDIC-supervised institutions in Federal Deposit Insurance Corporation. this rulemaking. adopting internal real estate lending Valerie Best, ADDRESSES: For reasons of government policies. For purposes of this subpart, Assistant Executive Secretary. efficiency, the Copyright Office is using the term ‘‘FDIC-supervised institution’’ [FR Doc. 2018–28084 Filed 2–4–19; 8:45 am] the regulations.gov system for the means any insured depository BILLING CODE 6714–01–P submission and posting of public institution for which the Federal comments in this proceeding. All Deposit Insurance Corporation is the comments are therefore to be submitted appropriate Federal banking agency LIBRARY OF CONGRESS electronically through regulations.gov. pursuant to section 3(q) of the Federal Specific instructions for submitting Deposit Insurance Act, 12 U.S.C. Copyright Office comments are available on the 1813(q). Copyright Office’s website at https:// ■ 3. Amend § 365.2 by revising 37 CFR Part 201 www.copyright.gov/rulemaking/ paragraphs (a), (b)(1)(iii), (2)(iii) and pre1972-soundrecordings- (iv), and (c) to read as follows: [Docket No. 2018–8] noncommercial/. If electronic submission of comments is not feasible Noncommercial Use of Pre-1972 Sound § 365.2 Real estate lending standards.
[Show full text]
2017 Music Business Attendee List As of April 27, 2017 Renaissance Hotel, Nashville TN May 15-18, 2017
2017 Music Business Attendee List as of April 27, 2017 Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES 7Digital Amazon (cont’d) James Priestley Dave Dederer VP, Business Development Head of Programming Jamie Ross Kristin Durie Head of Music Partnerships Sr. Label Relations Mgr. John Farrey All Media Supply Assoc. Label Relations Mgr. Robbie Defreitas Josh Fein VP Sr. Mgr. Marketing & Acquisition Todd Oenbrink Chris Graham Sales Dir. Sr. Artist Relations Mgr. Sean Hallarman Alliance Entertainment Music Editorial Mgr. Marc Bartlett Alex Luke Sr. VP, Sales & Marketing Dir., Global Content Programming Terri Borders Nicole Lund Talent Aquisition Sr. Label Relations Mgr. Jason Bright Dan Minamide VP, Walmart Account Exec. Assoc. Label Relations Mgr. Ken Glaser Rob Morse VP, Sales Operations Mgr. Thuy Ngo Lisa Nicholas-Ritscher VP, Marketing DIRECT2U Content Editor, Media & Movies Bruce Ogilvie Aly Proctor Chairman Music Vendor Mgr. Laura Provenzano Ryan Redington Sr. VP, Purchasing & Marketing Dir., US Digital Music Jeff Walker Jeff Reguilon CEO Mgr., Content Programming Elizabeth Reynolds Amazon Brand Specialist, Music Natasha Bishop Jack Rutledge Music Sales Mgr. Sr. Mgr., Catalog & Selection Nathan Brackett Andrew Sexton Sr. Editorial Mgr. Label Relations Mgr. Jill Chapman Adam Steiner Digital Media Operations Mgr. Sr. Content Producer Cindy Charles David Stuart Head of Business Development Assoc. Label Relations Mgr. Anthony Coorey Mary Tastet Partner Marketing Mgr. Sr. Content Program Mgr. Rosie de la Mare Laura Tulli Sr. Content Program Mgr. Music Marketing Mgr. 1 2017 Music Business Attendee List as of April 27, 2017 Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES Amazon (cont’d) Apple Music (cont’d) Elan Wang Brian Pesaturo Head of Music Vendor Management Label Relations Cody Wescott Matthew Plotnik Brand Specialist, Music Head, Music Marketing Brandon Reese AMPED Technical Product Mgr.
[Show full text]
Innovative Starts-Ups and the Change of Music Streaming
Innovative starts-ups and the change of music streaming A thesis exploring the way music is handled in the modern streaming industry. TIM-ERIC REICHERT SUPERVISOR Daniel Nordgård University of Agder, 2019 Faculty of Fine Arts Department of Popular Music Innovative starts-ups and the change of music streaming CONTENTS 1 INTRODUCTION ........................................................................................................ 5 1.1 METHODOLOGY, QUANTITATIVE AND QUALITATIVE RESEARCH ............................... 6 1.1.1 Citation and Reference Style: IEEE ................................................................. 7 2 STATE OF THE ART ................................................................................................. 9 2.1 STREAMING IS NOW THE SINGLE LARGEST SOURCE OF REVENUE .............................. 9 2.2 CLASSICAL MUSIC AND STREAMING ....................................................................... 10 2.2.1 Classical music users are demanding ............................................................ 12 2.3 ROYALTIES AND CLASSICAL STREAMING ............................................................... 14 2.3.1 Pro-rata issues ............................................................................................... 14 2.3.2 User centricity, song length and even more fairness ..................................... 17 2.4 CATALOGUE AND CURATION .................................................................................. 18 2.4.1 Playlists as a need .........................................................................................
[Show full text]
IFPI Digital Music Report 2013 Engine of a Digital World
IFPI Digital Music Report 2013 Engine of a digital world 9 IN 10 MOST LIKED PEOPLE ON FACEBOOK ARE ARTISTS 9 IN 10 OF THE MOST WATCHED VIDEOS ON YOUTUBE ARE MUSIC 7 IN 10 MOST FOLLOWED TWITTER USERS ARE ARTISTS Deezer4artists-HD_acl.pdf 1 26/02/13 17:37 2 Contents Introduction 4-5 Music is an engine of the digital world 22-23 g Plácido Domingo, chairman, IFPI g Fuelling digital engagement g Frances Moore, chief executive, IFPI g Fuelling hardware adoption g Driving the live entertainment industry An industry on the road to recovery: g Attracting customers, driving profits Facts and figures 6-10 Going global: the promise of emerging markets 24-27 Global best sellers 11-13 g Brazil: A market set to surge g Top selling albums g Russia: Hurdles to growth can be overcome g Top selling singles g India: Nearing an all-time high g Strong local repertoire sales g Strong market potential in The Netherlands Digital music fuels innovation 14-17 Engaging with online intermediaries 28-30 g Download stores receive a boost from the cloud g Advertising: tackling a major source of funding for music piracy g Subscription services come of age g Search engines – a vital role to play g Subscription transforming the industry’s business model g Further ISP cooperation needed g Growth for music video g Payment providers step up action on illegal sites g The next generation radio experience g Europe: Licensing helps digital consumers Disrupting illegal online businesses 31 The art of digital marketing 18-21 g Disrupting unlicensed cyberlockers g Reducing pre-release leaks g One Direction mobilise an online army g Dance label harnesses social media Digital music services worldwide 32-34 g A personal video for every fan: Linkin Park g Taking classical digital Cover photo credits: Michel Teló.
[Show full text]