MDIA 3307 Music Licensing final presentation by Tyler Hoisington

1. MDIA 3307 Final Assignment
Tyler Hoisington

2. My Role - Student
Learning how the
industry works,
meeting people, and
finding my place in a
constantly evolving
world.

3. 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.

4. 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.

5. 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.

6. 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

7. 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.

8. 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.

9. 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.

10. 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.

11. 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.

12. 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.

13. 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.

14. 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.

15. 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.

16. 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

17. 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.

18. 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.

19. 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.

20. 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.

21. 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.

22. 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.

23. 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.

24. 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.

25. 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.