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SOCAN acquires Audiam, providing royalty payment for songwriters, composers and music publishers.

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SOCAN acquires Audiam, providing royalty payment for songwriters, composers and music publishers.

SOCAN, the member-based organization representing the Canadian performing rights of more than four-million Canadian and international music creators and publishers with revenue of CAD$308-million in 2015, has confirmed that it has purchased 100% of New York-based Audiam. The acquisition empowers SOCAN to provide a unique global music industry solution with respect to licensing digital services and royalty payment for songwriters, composers and music publishers.

With Audiam, SOCAN now has a comprehensive database and metadata of all musical works and commercially released digital sound recordings, and the technology and business understanding to match and connect the two, issue licenses and get rights-holders paid all they have fairly earned.

The problem of licensing and payments recently came to a head again in the form of several class-action lawsuits by rights holders against music streaming companies.

With the Audiam acquisition SOCAN has expanded into collection of royalties for reproductions of music (“mechanicals”), licensing and royalty distribution in the U.S. and Canada. Audiam enables music creators and music publishers to be paid accurately, while removing liability, infringement and data issues for streaming music services and YouTube. Audiam provides one-stop licensing and collecting in North America.

“In 2013 Audiam shook up the music royalties system by identifying and correcting serious gaps in the digital music rights value chain, particularly with music used in YouTube videos, by correctly matching data to the rights-holder,” said SOCAN CEO Eric Baptiste. “By acquiring Audiam, SOCAN steps even further ahead with our vision to lead the global transformation of music rights with substantial new tools for our more than 135,000 member songwriters, composers and music publishers, dramatically expanding our ability to ensure that creators are properly and fairly compensated.”

“SOCAN is not only the most technologically advanced, efficient and transparent music rights organization on the planet, but its board of directors and executive team are singularly focused on assuring all the works of composers and publishers are licensed and that rights-holders are paid for the use of their music,” said Jeff Price, founder and CEO of Audiam. “Adding SOCAN’s resources and knowledge to Audiam allows us to finally fix the global industry problems, remove liability for services and get rights-holders paid.”

Audiam was founded in 2013 by TuneCore founder and former CEO Jeff Price and former TuneCore CTO David Willen. Audiam’s innovative technology and business processes identify the use of music and correct data on digital services such as Spotify, Apple Music, YouTube, Google Play and others, and get rights-holders paid, greatly expanding and enhancing the capabilities of SOCAN.

The acquisition was made final in July, and Audiam will remain a separate organization under its current name for the foreseeable future. Jeff Price will remain Audiam’s CEO and will work closely with SOCAN group CEO Eric Baptiste and his team.

Audiam brings to SOCAN one of the world’s most complete databases of sound recording and underlying song/composition metadata as well as sophisticated audit and auto-match technology to proactively find works that are not licensed and royalties that have not been paid.

As the largest organization in the Canadian music ecosystem, SOCAN is one of the leading and most transparent music rights organizations in the world. As part of SOCAN’s vision is to lead the global transformation of music rights, the company is investing in new services for its members that are essential in today’s globalized digital environment.

SOCAN will instantly leverage Audiam’s identification technology and services to more accurately pay members’ performing rights royalties on YouTube and other digital platforms, expanding service offerings to songwriters, composers, and music publishing members.

SOCAN plans to integrate Audiam’s other strong business lines such as North American licensing and administration of mechanical income from digital services, including Spotify, Google Play and Apple, as well as leverage Audiam’s proven track record to identify and recover pre-existing mechanical royalties that typically have remained unpaid.

Americas Dominated Global Music Streaming Market In 2015 With 61% Of Market Share

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Americas Dominated Global Music Streaming Market In 2015 With 61% Of Market Share

The global music streaming market is expected grow at a CAGR of more than 13% during the forecast period, according to Technavio’s market research.

In this report, Technavio covers the market outlook and growth prospects of the global music streaming market for 2016-2020. To determine market size, the report considers the revenue generated from the music streaming market by region.

Music streaming was launched in the UK and the US in 2003, and these regions account for more than 50% of the total revenue generated by the global music streaming market.

The music streaming market in the Americas is expected to grow at a CAGR of 9.49% in the forecast period. The US has access to superior music storage and streaming services with applications like Pandora, Beats, and Spotify. Countries like Canada, Mexico, Brazil, and Peru have been combining virtual music stores like Apple’s iTunes for purchases and free applications (8tracks, Grooveshark, Songza) for storage and music sampling. These applications offer a wide-range of playlists but come with ads and limited skip functionality.

“In 2014, applications and websites such as Google Play Music, Deezer, and Slacker entered the music streaming market to capitalize on the growing music streaming industry. These paid services also allow users to build personal libraries and playlists, provide recommendations, and save music downloads for offline listening,” says Ujjwal Doshi, a lead analyst at Technavio for research on media and entertainment services.

The music streaming market has been active for almost a decade in European countries such as the UK, Germany, and Sweden. However, in African nations, it is a relatively new development faced with numerous challenges like underdeveloped infrastructure, licensing concerns, and sourcing music from local artists. The music market in Africa has also been underserviced. Often artists have to represent themselves because they are not promoted and marketed by high-end banners and production houses.

The report, however, states that despite these challenges, the music streaming and downloading landscape of Africa is seeing increased competition from domestic players like iROKING, Spinlet, and Simfy, who are trying to establish themselves in the global scenario. Deezer allied with mobile phone operator Vodacom, the African subsidiary of Vodafone networks in 2015; Spotify is also reportedly in discussion with the company.

Piracy of music and related contents is a common menace in APAC, and the governments are trying hard to curb the situation. For instance, in 2012, it was found that more than half of the internet using population in Singapore accessed illegal download sites for free music and movies. The Chinese government is also undertaking several measures like blocking websites with pirated content to control the market. The government conducted a survey in 2014 to carry out this regulation, and they tested the acceptance of legal paid-internet music downloads among people. The results revealed that the population in China is not hesitant to pay for high-quality music streaming services.

“The success of music streaming platforms in APAC nations indicates that the market will see tremendous growth in the forecast period. The region is undergoing a mobile revolution. As of 2015, approximately half of the world’s mobile connections were in APAC, with 1.6 billion unique subscribers. Thus, mobile network providers are improvising their pricing plans to provide high-quality music at a nominal price to the users and to contribute to the market’s growth,” says Ujjwal.

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German Music Market Grows By 3.6%

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German Music Market Grows By 3.6%

New figures released show that Germany’s recorded music market grew by 3.6 per cent in the first half of 2016. Total revenue from the sales of CDs, vinyl, downloads and the use of streaming services increased in value by a total of 3.6 per cent over the same period in 2015. Audio streaming was the key driver for the growth, with revenue from premium subscriptions and ad-supported services, such as Spotify, Apple Music, Deezer, Napster etc., increasing by 88 per cent.

Vinyl sales also saw a significant increase of 46.2 per cent over the same period in 2015 with its market share rising to 4.3 per cent (compared to 3.1 per cent in the first half of 2015). Sales of CDs declined by 9.6 per cent in the first half of 2016 but remain the dominant format with a 52.3 per cent share of sales. Overall, market figures show a split of 60.4 per cent physical and 39.6 per cent digital sales.

Professor Dieter Gorny, Chairman of Germany’s Federal Music Industry Association (BVMI) said: “These figures indicate that the process of digitisation is occurring even faster than we had previously thought. As music becomes increasingly a digital business, it is more important than ever to establish the right environment for the whole sector to adapt in this new world. A few weeks ago, more than 1,100 musicians and bands signed and sent an open letter to the European Commission, thus showing that artists – who are the nucleus of our entire industry – have serious concerns about the value gap and about their future. The truth is that if we don’t find a solution to this, it might have profound consequences in the future on the art and the profession of making music.”

BVMI Managing Director Dr Florian Drücke said: “The latest figures are heartening for two reasons; firstly, the German market continues to grow, thus enlarging the share of revenue for the whole sector. Secondly, the significant increase we are seeing in audio streaming makes it clear that our industry is successfully adapting to the digital world and has developed a compelling offer for music consumers.

“However, for this transformation to continue we much ensure that music content is sufficiently protected against copyright infringement – both online and offline – and that all participants are able to benefit fairly from the proceeds. Indeed, this is not about the future any longer, but about the digital present.”

John Oliver and some of America’s favorite recording artists remind politicians not to use their songs without permission on the campaign trail.

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John Oliver and some of America’s favorite recording artists remind politicians not to use their songs without permission on the campaign trail.

John Oliver and Heart, John Mellencamp, Usher, Sheryl Crow, Cyndi Lauper, Michael Bolton, Josh Groban and Dan Reynolds of Imagine Dragons remind politicians not to use their songs without permission on the campaign trail.

Toronto Blue Jays pitcher J.A. Happ doesn’t understand this whole milk in a bag stuff

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Toronto Blue Jays pitcher J.A. Happ doesn’t understand this whole milk in a bag stuff

In a recent interview with Sportsnet, Toronto Blue Jays pitcher J.A. Happ, who is American, was asked the innocent question: “Is there anything you’re still not used to in Canada?”

Here is the entire exchange. You’ll want to read it twice. It’s much funnier if you read it outloud, or in the voice of Noel Gallagher.

“Is there anything you’re still not used to in Canada?”

“I think I’ve gotten used to most of the stuff. Grocery shopping is a little different. I still don’t understand the bagged-milk situation here.”

“What?”

“You guys sell milk in bags, and I don’t really get why, or what you do then with the bags. Other than that it seems like Canada’s doing a pretty good job. [Laughs.] But I don’t get the milk. Put it in a gallon jug so you don’t have the sloppy, messy bag.”

“You know you put the bag in a milk jug, right?”

“Where’s the jug? Do you have to buy the jug separately? Why are they not in the jug already?”

“Oh my gosh. You have to ask someone at the grocery store for help.”

“Why do I have to ask? I should just grab it from the counter and it should be ready for me to drink.”

“There’s an assumption that you know to put the bag in a milk jug and cut it open.

“[Laughs]. They can’t assume that. I’ve never bought it because I see this bag of milk, and I’m like I don’t get what I can do with this thing.”

“J.A., I can’t believe this.”

“[Laughs.] We need a memo sent out to all American players on how Canada dispenses its milk. Would you prefer to have a gallon of milk or a bag or milk? You can pick up a gallon and walk out of the store. Or you can try to figure out how to drink your bagged milk.”

“I think I have to bring you a milk jug.”

“That would be great.”

This Starbucks Store Is Staffed With Deaf Employees

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A new Starbucks location in Kuala Lumpur, Malaysia, is providing a unique employment opportunity to people who are deaf.

Starbucks Malaysia partnered with the Society of Interpreters for the Deaf, which advocates for equal rights for the deaf community, to open the store on Wednesday. This Starbucks location offers jobs to people who are deaf, and also makes ordering easier for deaf customers.

The store hired ten deaf baristas, but it caters to customers of all hearing abilities. Deaf customers can use sign language to order drinks of their choice and those who don’t know sign language can use a menu card to write their order.

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Steve Aoki documentary I’ll Sleep When I’m Dead debuts on Netflix August 19

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Steve Aoki documentary I’ll Sleep When I’m Dead debuts on Netflix August 19

I’ll Sleep When I’m Dead, directed by Justin Krook, is a heart-pumping yet heart-wrenching documentary about one of the most eminent DJs working today: Steve Aoki. In the lead-up to Aoki’s biggest show of his career, this introspective doc examines the driving force behind his passion: Rocky Aoki, daredevil showman, Benihana founder, and Steve’s looming father figure. From producers David Gelb (Chef’s Table, Jiro Dreams of Sushi), Matthew Weaver (Rock of Ages), Matt Colon, Happy Walters, Executive Producer Michael Mailis and Co-Producer Susan Wrubel.

‘The LEGO Batman Movie’ Official Comic-Con Trailer Is Here

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‘The LEGO Batman Movie’ Official Comic-Con Trailer Is Here

Mark February 10, 2017 down. That’s when Warner Bros. Pictures will release their computer-animated action comedy, The LEGO Batman Movie, a spin-off to the 2014 hit, The LEGO Movie. The film, which features the voices of Will Arnett (as Batman), Ralph Fiennes, Rosario Dawson, Michael Cera, Zach Galifianakis, and Mariah Carey, is already one of my faves, and I’ve only just seen these short clips.

Avery Gives Back to Schools With Michael “Pinball” Clemons and Hannah Alper

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Avery Gives Back to Schools With Michael “Pinball” Clemons and Hannah Alper

Avery Products Canada has dedicated their resources to students across Canada through their #AveryGivesBack campaign launching this school season. 7,500 kits filled with Avery stationary supplies were packaged at Avery Canada’s head office in Whitby, ON by dedicated employee volunteers with the support of The Michael “Pinball” Clemons Foundation (MPCF) and young change maker Hannah Alper.

“Avery Products Canada is pleased to be working with MPCF and Hannah Alper on this great program to give back to local schools and communities. At Avery we truly believe in caring and supporting each other so this program is a natural extension of what we do every day,” says Lynn Livesey, General Manager of Avery Canada.

Deliveries were made between June 6th – June 29th to students across Canada including schools within MPCF networks. Aligned with MPCF founding principle of empowering youth and inspiring dreams, Avery Product Canada’s #AveryGivesBack campaign is aiming to prepare students for the upcoming school year with the tools they need such as binders, dividers, highlights and tabs.

To celebrate these contributions, Michael “Pinball” Clemons and Hannah Alper captured their contribution of kitting and delivery of these kits through video to spread awareness of giving back to your communities through social media during the back to school season in hopes to inspire others. To further give back, Avery will be donating $1 for every video “share” up to $5,000 to the Michael “Pinball” Clemons Foundation.

Join the give back movement with Avery Products Canada at #AveryGivesBack. The videos will be available to view through Avery Products Canada’s social channels and on July 25th.

Steve Harvey explains country music’s appeal

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Steve Harvey explains country music’s appeal

Steve Harvey has a surprising answer for a black woman who is sick of her white husband’s music taste.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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