Music Metadata Means More Money for Musicians
Music recognition technology has been with us for around for a decade. We can use a cell phone to identify a track in a few seconds. We know that digital fingerprinting technology is powerful and has many potential uses. We also know that Broadcasters and Media organizations have an obligation to report their music use to performing rights organizations and rights owners so that royalties can be paid. This is surely a match made in heaven!
The recognition of music using digital fingerprinting provides opportunities for greater accuracy, automated payments systems and reducing the huge cost and effort of music reporting for broadcasters and music users.
So, if the technology is so efficient and effective, why is it not being employed more widely? The panel of experts, music users and technologists will debate the key questions.
- How effective is music auto-recognition technology? What are its drawbacks or limitations?
- Is the digital auto-recognition of music currently being successfully employed?
- Is the key role of digital auto recognition to track down illegal users of music or to promote greater efficiency for legitimate use of music?
- What are the opportunities for music rights owners and music users? And what are the potential costs and savings for all stakeholders?
- Does the removal of administration costs that music auto-recognition brings ultimately put more money in the pockets of music creators?
- Peter Bradbury, HEAD OF RIGHTS, BBC
- Chris Woods, EXECUTIVE VICE PRESIDENT / COO, TUNESAT
- Mark Vermaat, Chief Technology Officer, SOUNDMOUSE
- Mark Gordon, COMPOSER, SCOREDRAW MUSIC
- Lynne Lummel, Senior Vice President of Distribution and Repertory, ASCAP (American Society of Composers, Authors and Publishers)
Peter Bradbury, HEAD OF RIGHTS, BBC
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