Royalty Exchange was set up in 2011 to act as a broker/marketplace to connect owners of copyrights with private investors looking to buy a share of the future earnings of those copyrights.
The company says the model is not about surrendering control of copyrights but rather is based on an earnings-share model. It has just announced that it has closed a $6.4m convertible note to fund its future growth and expansion. Royalty Exchange says it had originally planned to raise $3m but, due to demand, increased the offering.
The company claims that “royalties are the world’s largest asset class without an established marketplace” and it aims to bring greater transparency to this space by creating an online auction platform where bids and final deals are made public – rather than happening in private. They feel this gives a more visible measurement of the value of copyrights.
For example, as of 19th June and with two days left on the auction, a share of public performance royalties earned by jazz saxophonist Kim Waters has attracted 10 bids and has a current price of $21,500 – which increased from a starting price of $17,000.
The alleged owner of defunct file-sharing site KickassTorrents has implied that he might consider voluntarily travelling to the US to face the copyright charges made against him and his former business. Artem Vaulin was arrested in Poland nearly a year ago as American authorities moved to take the popular file-sharing hub offline. Efforts to extradite Vaulin to the US are ongoing, though an initial court hearing on the matter in Poland ruled that the Kickass chief could be extradited to America. Meanwhile in the States, legal representatives – led by Ira Rothken, better known for representing MegaUpload founder Kim Dotcom – have been trying to have the case against Vaulin dismissed, on the basis that Kickass was, if anything, liable for contributory rather than direct copyright infringement, which is, they argue, not a criminal matter under US law. Vaulin was kept in custody until he finally secured bail last month. Now out of jail and living in Warsaw, Vaulin has been able to speak more freely and more regularly to his US counsel, and as a result they are in turn talking to the American authorities. We know this because last week the defence in the US filed a […]
Mark Kitcatt is CEO and part owner of independent music company Everlasting Popstock and has a long and successful track record in the music industry. Based in Madrid since the 1990s, Mark is concerned about the impact of Brexit on music and musicians, as well as its effect on the citizens’ rights of UK nationals living in the EU like himself. A member of the association EuroCitizens , he is organising ‘ Música sin Fronteras ‘. This concert on Saturday 24 June, exactly a year after the results of the Brexit referendum, will be held in the mythical venue Sala El Sol with three talented and cosmopolitan young musicians: John Grvy , Alex Roddom and Rob Picazo . EuroCitizens: How is Brexit going to affect the music industry? MK: I came to Spain in the early nineties, before EU directives on free movement came into force. That changed the whole music business. Suddenly, bands could move around freely, play concerts anywhere in the EU and sell their merchandise with no problems. Since then, for UK bands, virtually all Europe has been an open market. It costs the same for a group to play in Milan as in Manchester, or […]
On Monday last week, Altice, the fourth largest US pay-TV operator, laid out the details of its planned IPO (Initial Public Offering). With a projected initial public stock price offering of $27-$31 per share, the 45.5 million shares to be offered will mean that the company will raise between $1.3 billion and $1.4 billion, valuing the whole business at around $20 billion. In addition to raising the additional funds via the planned IPO, creating a $20 billion public vehicle will enable Altice to directly use equity to fund its continued US acquisition strategy. Corporate debt issuance deals will also become cheaper to fund, due to the tighter regulatory and reporting requirements in place around public companies, thereby significantly increasing the war chest available to Altice USA.
The Altice Approach
With 4.9 million US customers, Altice is now the fourth largest pay-TV operator since it moved into the US market through its formal founding in 2016, on the back of its acquisition of Suddenlink communications for $9.1 billion and its $17 billion buyout of Cablevision Systems. Patrick Drahi,
Internet a introduit des changements majeurs sur la distribution des contenus, la transformation des usages et des modèles économiques et même sur les modes de production des jeux vidéo. Ces changements sont autant de passerelles entre segments de marché, qui conduisent à l’ouverture des plateformes et à leur convergence, à l’uniformité des modèles économiques, à l’ubiquité des contenus et des usages. D’une part, le jeu online enrichit l’expérience ludique et crée de la valeur : le jeu multijoueur rallonge le cycle de vie des produits ; le téléchargement de contenus additionnels (DLC) se généralise, comme l’achat in-game ; la multiplication des fonctionnalités communautaires et sociales devient incontournable. D’autre part, les chaînes de valeur se recomposent, les acteurs physiques disparaissent, les flux de revenus sont l’objet d’un nouvel équilibre où la situation des développeurs et les éditeurs, soit les fournisseurs de contenus, est revalorisée. Depuis fin 2013, les plus grosses productions de jeux vidéo sont désormais toutes distribuées de façon dématérialisée via les boutiques digitales des consoliers. Ainsi, les fonctionnalités des terminaux fixes et mobiles convergent : depuis mars 2017, la parfaite illustration de la convergence vient de Nintendo qui commerciale la Switch, dernière-née de ses consoles. Il s’agit d’un […]
Spotify has published its much anticipated 2016 revenues. Because the company is under so much analytical scrutiny, there is little that is particularly surprising but there is still plenty we can learn from the results: Growth maintains momentum: Spotify recorded revenues of €2.9 billion in 2016, up 51% from €1.9 billion in 2015. Although that was a lower growth rate in % terms (80% for 14/15), it was a bigger net add in revenue terms (€989 million net new revenue in 2016 compared to €863 million in 2015). Spotify still has some way to go before it challenges Netflix’s $8.2 billion streaming revenue, but it is making clear progress. Spotify is getting ready for public reporting: The 2016 accounts featured heavy restating of previous year figures and many line items from last year’s accounts were no longer reported. All of which points to an organization getting its reporting structures in place for a public listing of some kind. ARPU is a mixed story: Spotify’s total monthly user ARPU increased from €1.82 in 2015 to €1.94, driven by a small increase in ad supported user APRU and, more importantly, a higher share of paid users (38% in 2016 compared to […]
Dans un arrêt rendu le 14 juin 2017 dans l’affaire C-610/15 Stichting Brein/Ziggo BV, XS4All Internet BV la Cour de justice de l’Union eupropéeenne (CJUE) a précisé que la fourniture et la gestion d’une plateforme de partage en ligne d’œuvres protégées telle que «The Pirate Bay» peut constituer une violation du droit d’auteur Même si les œuvres concernées sont mises en ligne par les utilisateurs de la plateforme de partage, ses administrateurs jouent un rôle incontournable dans la mise à disposition de ces œuvres Ziggo et XS4ALL sont des fournisseurs d’accès à Internet. Une partie importante de leurs abonnés utilise la plateforme de partage en ligne « The Pirate Bay ». Cette plateforme permet aux utilisateurs de partager et de télécharger, par fragments (« torrents »), des œuvres qui se trouvent sur leurs propres ordinateurs Rappelons que BitTorrent est un protocole par lequel les utilisateurs peuvent partager des fichiers. Les fichiers à partager sont fragmentés en petits éléments, ce qui allège la charge des serveurs individuels lors du processus de partage. Pour pouvoir partager des fichiers, les utilisateurs doivent d’abord télécharger un logiciel spécifique, qui permet de créer des fichiers torrents. Les fichiers torrents renvoient à un serveur centralisé […]
YouTube has launched an interesting new feature for people creating VR and 360 videos for its service. Any of these videos that gets more than 1,000 views will now get its own ‘heat map’ in YouTube’s analytics system.
“You’ll be able to see exactly what parts of your video are catching a viewer’s attention and how long they’re looking at a specific part of the video,” explained YouTube in a blog post.
Just as interesting is the post’s brief run-through of some lessons on what makes for engaging VR and 360 videos on YouTube, based on these heat maps.
The post YouTube introduces ‘heat maps’ for VR videos appeared first on Music Ally.
Source: Music ally
Amazon has made tentative moves recently to help developers start to make money from their Alexa skills, developed for the company’s Echo devices.
However, Amazon is also cracking down on one of the early attempts by a third-party company to provide a similar service. Startup VoiceLabs had launched a feature called ‘sponsored messages’ for Alexa skills in January this year, delivering millions of voice ads since then for its clients.
Now it’s had to shut the service down, after Amazon tweaked its policies. For Amazon’s part, it says it is adapting its policies to protect users.
The post Amazon cracks down on Alexa-like ads for Echo appeared first on Music Ally.
Source: Music ally
“Today we #WITNESS history. Congratulations @katyperry, the first to reach 100 million followers!” announced Twitter’s official account on Friday.
The company encouraged fans to share their “favourite Katy Perry moments” in celebration of the milestone – no, her new album going in at number six in the UK albums chart that day doesn’t count, cynics – but there has been some discussion of just how accurate the 100m milestone is.
The post Does Katy Perry really have 100m Twitter followers? appeared first on Music Ally.
Source: Music ally