Music Business Association : Sixth Annual Metadata Summit to Gather Who’s Who of Global Data Experts at Music Biz 2018 Conference

[April 23rd 2018 Nashville TN] The Music Business Association (Music Biz) will host the Sixth Annual Metadata Summit on Tuesday, May 15, from 9 a.m. to 3:30 p.m. CT at the Omni Nashville Hotel during the Association’s 60th anniversary Music Biz 2018 conference. Aimed at data experts from throughout the music industry, the program will amplify the importance of metadata and provide a high-level forum for discussion.

Sponsored by OpenPlay along with supporting sponsors DataArt, primephonic, SOCAN, SoundExchange, and VEVA Sound, this year’s Summit will kick off with a presentation from Edward Ginis of OpenPlay, who will explain why metadata must evolve beyond artist, genre, and title to enable the music technology of tomorrow. In addition, global metadata issues will take center stage in a series of presentations, including Bernie Cho of DFSB Kollective discussing how data helped K-Pop become Asia’s #1 music export; Ed Peto and Alex Taggart of Outdustry explaining music licensing in China; and Jay Mogis of Nightlife Music detailing metadata use in Australia.

Other panels and presentations will feature a who’s who of international metadata experts, including Kim Beauchamp of Universal Music Group; Jon Bender of SoundExchange; Jill Chapman of Amazon, Harris Cohen of YouTube; Deborah Fairchild of VEVA Sound; Joe Freel of Sony Music Entertainment; Neil Gaffney of Universal Music Group; Mark Isherwood of DDEX; Jeff King of SOCAN; Eric MacKay of Warner/Chappell; Jackson Mercer of Concord Music; Vickie Naumann of CrossBorderWorks; Benji Rogers of Dot Blockchain Media; and Howie Singer, Strategic Technology Consultant. These sessions will cover common metadata mistakes that can get songs removed from digital service providers (DSP’s), the Music Data Exchange (MDX) database, the music business applications of blockchain, how metadata can help rights-holders find where their songs are being used and ensure they are being paid properly, and the benefits of capturing metadata directly in the studio.

“This year’s Metadata Summit comes at a time when high-quality metadata is of utmost importance,” said James Donio, President of Music Biz. “With digital services now accounting for the majority of music industry revenue, it is crucial that each and every stream, download, video sync, or other music use be properly identified and associated with its rights-holders. Music Biz’s resident data enthusiast, our Digital Programming & Industry Relations Consultant Bill Wilson, has once again assembled experts from all corners of the international metadata scene. We look forward to an in-depth discussion.”

“The music tech space is growing rapidly in a variety of different directions, but the one thing they all have in common is they need proper metadata to work efficiently,” said Bill Wilson, Digital Programming & Industry Relations Consultant for Music Biz. “It’s important for everyone in every branch of the industry to stay up-to-date on these issues and ensure they are following the proper guidelines. This is how we clear the way for fresh innovations that will both keep revenue growing and guarantee it ends up in the right hands.”

1 – 1:20 PM

The Unsung K-Pop Star: Music Metadata

Get the lowdown on how the “glocalization” of music metadata is the secret success sauce that has helped propel Korean pop music to emerge as the #1 Asian music export in the world.

• Bernie Cho, President, DFSB Kollective
  

About the Music Business Association
The Music Business Association (Music Biz) is a membership organization that advances and promotes music commerce — a community committed to the full spectrum of monetization models in the industry. It provides common ground by offering thought leadership, resources, and unparalleled networking opportunities, all geared to the specific needs of its membership. Music Biz brings a unique perspective and valuable insight into the trends and changes that innovation brings. Today, we put our collective experience to work across all delivery models: physical, digital, mobile, and more. Music Biz and its members are committed to building the future of music commerce — together.

https://musicbiz2018.sched.com/event

Featured Speaker : Bernie Cho [DFSB Kollective]

2017 Music Matters : Social Media Keynote w/ Alex Zhu (Co-Founder & Co-CEO @ Musical.ly)

How is this wildly successful and influential social media platform transforming the way millions of people share and create content and connect with each other around the world?

< FEATURING >

Alex Zhu (Co-Founder & Co-CEO @ Musical.ly)
Bernie Cho (President @ DFSB Kollective)

http://www.allthatmatters.asia

2015 Music Matters : In Conversation With Indie Rights Holder - Charles Caldas (CEO of Merlin Network)

All That Matters took Singapore by storm on May 20-24th, 2015 with a stellar week of B2B2Fan events for the global entertainment community.

Music, Live, Video and the inaugural Sponsorship Matters attracted over 1,500 delegates from 32 countries who tuned in to 153 speakers and attended 13 networking events across the week.

Thousands of souls were entertained by 200+ performances over 4 nights of Music Matters Live  and over 3,500 teenage fans turned out for the 3rd YouTube FanFest Singapore to meet their heroes of the YouTube screen.

In Conversation With Indie Rights Holder: Charles Caldas (CEO of Merlin Network)

Charles Caldas shares Merlin’s independent label perspective and future outlook of streaming across Asia and around the globe

- How has music consumption changed from the storefronts of the past to the current vast array of online streaming services for the independent label and artist?

- How are these new modes of consumption providing dynamic experiences for users, and a new kind of commercial success for artists?

Interviewer: Bernie Cho (DFSB Kollective)

2014 Music Matters [AU Review] : Conference Day 2 Wrap Up (Part Two) @ The Ritz Carlton Millenia @ Singapore

After lunch on day two and the HP live sessions that included a performance by Australia's Lyon Apprentice, Daniel Glass, the Founder and President of the influential Glassnote Entertainment Group was interviewed by Ralph Simon in the afternoon's first session.

Glass reflected on his origins as a young DJ, which got him interested in the international music that he's ended up working with through his life. Saddest day of my career was when Chrysalis Records was sold, "I didn't want to work for a major."

He was asked why being "indie" was so important to him, "I prefer to spend 80% of my day without human resource people. I want to spend it with music and creative people. We all wanted to be A&M and recreate Chrysalis Records," and this is what led to the formation of the Glassnote Entertainment Group, whose first office "was the mezzanine of Waldorf Astoria in New York where we were using their free wi-fi. We got thrown out because they thought we were running a prostitution ring. So we moved to Barneys."


He called Wolfgang Amadeus Phoenix, by influential French group, and early success story of the company, Phoenix, "one of the most perfect records ever produced" and the night they headlined Madison Square Garden "one of the greatest moments of my life!" He also commented on the "unsual" success the company had with Mumford & Sons, "they are one of the few bands who sell albums AND tickets... Canada is their biggest market in the world."

As for advice for other independent labels, Glass said, "NO is one of the most powerful words an independent label has. It can help keep bands and fans on your side. No to deals and no to bidding wars... when things get aggressive or sour. You don't want a marriage like that."

And there was one sentiment that Daniel Glass delivered which may have received the biggest applause of the entire conference: "Artists need to be paid fairly."

The anticipated interview with Apl.de.ap (pictured) from the Black Eyed Peas followed, conducted by TV & Radio Presenter (and MC for Music Matters) Dominic Lau.

The pair talked about the origins of the Black Eyed Peas, going all the way back to when the Philippines born hip-hop star moved to the USA in 1989 when he was adopted, meeting the man who would become Will.I.Am from the Black Eyed Peas soon thereafter. The formed a dance crew, which eventually became a hip-hop group and the rest is history...

Following his recent stint on The Voice Philippines as a coach, Apl.de.ap has set up his label Boombox, which invests in Asian artists and endeavors to provide a western production, not so much to take it to the US but to give it movement. He's proud of his heritage and it was a pleasure to have Apl.de.ap at Music Matters to share with us his love of music and of the region.

Next up was Christophe Muller, director of global music partnerships for YouTube, whose message was a simple one: "it's not all about views, it's about engagement." He was followed by Haji Taniguchi, President of Avex Music Publishing, and the Chairman of MPAJ, who provided insights into the Japanese region, which experienced reduced record sales in 2013.

He pointed, however, to the continued strength of the market. US consumers only spend 42% of Japanese consumers per capita, with the UK one of the closest markets, at 85%. He looked at how increased broadcast and performance revenue has helped offset physical sales decreasing in the last year. And looking to those wanted to infiltrate the market, "I strongly suggest analyzing the J-pop market before you try and tackle it. You should talk to a publisher first."


To get a taste of the Japanese music scene, Naoto Inti Raymi (pictured) gave us an acoustic performance of a song which translates to "I wish you could come back once more." He also talked about how he's looking beyond Japan for his future career, "my dream is to do a world tour one day!"

We went in conversation with Charles Caldas, CEO of the global independent rights agency Merlin, next - with Bernie Cho, President of DFSB Kollective in the interview chair. He looked at the growth of streaming and the new digital economy, and how independent music now has the biggest market share when compared to the big three labels in the USA (Warner, Sony, Universal). Furthermore, "there's more value coming into the market as digital numbers double every year." So for all the challenges facing the current market, the future is looking bright.

The final interview for today was with Marc Geiger, Worldwide Head of WME Music (William Morris Entertainment). His talk delivered some incredible insights into the digital and live music industries, both in Asia and around the world.

He signaled some of the problems facing Asia on the global touring stage, pointing to a lack of strategic planning and available analytics. He also looked at the problem faced when artists, managers and touring companies are trying to set prices that match what they may achieve in other markets: "People can't be so tight on deals in this region until there's scale and room to move. Wait until they've built the buildings before you focus on the money, otherwise nothing will happen."

Then there are the geo-political issues, "We got a direct terrorist threat before Lady Gaga's sold out show of Indonesia which led it to be cancelled." And in China, he commented that she hasn't been allowed to perform there, "it's not that they're worried about Gaga might say, it's more her influence on alternative culture. Will everyone dye their hair purple? If there's any suppression of their art then it's not a healthy culture."

His comment on digital was also an interesting one, if not controversial. The culture of the illegal download, he said, has led to more people listening to music than ever before, "the industry's bad handling of digital has made music go everywhere." And while record sales might be down, the industry is healthier than ever thanks to more artists, doing more tours and more business than ever before. He called the current state of recorded music a "train wreck", but said that as it remains a $200 billion business, "people need to move on it" to get that money flowing again.

At the end of a fascinating day of insight into the music industry, Music Matters wrapped up with a cocktail party kindly sponsored by KOCCA. Korean rock act Asian Chairshot played an acoustic set.


Interviewer: Bernie Cho [DFSB Kollective]

Korea JoongAng Daily : MU:CON Brings Korean Music to World

Steve Lillywhite, left, five-time Grammy Award-winning record producer for such artists as U2, The Killers and the Rolling Stones being interviewed yesterday by Graham Perkins, director of market development in Asia for Fender Musical Instruments. Provided by Kocca
Gone are the days when you had to stay up late listening to the radio to hear your favorite bands, or when you played your favorite cassette tape so much that it warped and broke. Gone, too, for most people are trips to record shops to discover and buy the latest hits. Now, all the music in the world is available digitally, in just a few clicks.

To discuss those fundamental changes to the music industry and what it means for the Korean music scene, top producers and executives from the world’s record business have come to Seoul for Mu:Con, a two-day music fair and exhibition.

Among the speakers are Seymour Stein, co-founder of Sire Records, the label that signed such pioneering artists as Madonna and the Pretenders, and Steve Lillywhite, the five-time Grammy Award-winning producer of U2 and the Rolling Stones.

Mu:Con kicked off yesterday with speeches and conferences at the GS XI Gallery in Seogyo-dong, western Seoul.

“Great music surpasses borders, religion and race,” said Hong Sang-pyo, president of the Korea Creative Contents Agency, the group that organized the event, as he kicked off the event. “It thrills everyone throughout the world and, in turn, is appreciated for its values. That is why, the theme for this year’s Seoul International Music Fair is ‘Beyond Borders, Beyond Genre, Beyond Music.’

“During the fair, we are going to have in-depth discussions on subjects such as the digital music services that have allowed borderless music distribution and the new platform YouTube. Moreover, we’ll listen to what’s happening in other countries, including Japan, China, Australia and Russia, from representatives from each of those countries.”

A conference yesterday about online music streaming presented different aspects of how those services are evolving. Speakers included Bernie Cho, president of DFSB Kollective, a Seoul-based creative agency that specializes in digital media, Clement Gosse, APAC sales director of Deezer, a music streaming service provider, from France, and SK Choi, global head of Content Operations of Spotify, another music streaming service provider established in Sweden.

While many artists have criticized services like Deezer and Spotify, both Choi and Gosse said that people need to realize that we are in a “transformation period.”

“We are changing from one business model to another,” said Gosse. “Every change creates noise. It’s just a matter of time.”

Choi also added that streaming music services do cannibalize other music services, but mostly they are “cannibalizing piracy.”

“We’ve done all the research,” said Choi. “Streaming services don’t cannibalize downloads. What we did was bring those who download songs illegally through P2P sites back to legal environment. They are now paying, legal users. I would definitely say we are cannibalizing. But we are cannibalizing piracy.”

Kim Young-min, CEO of SM Entertainment, one of Korea’s largest music companies, delivered a speech about the transformation of today’s music culture.

“The existing music industry has been divided,” he said. “First, there were those who make music and then those who have the master rights, for instance, entertainment agencies like us in Korea or globally, the record labels. Also, there’s media that promotes and delivers music, such as radio and television. After listening to music from either one of those mediums, people went to record shops to purchase CDs or LPs. There were distinctive divisions in the music market. Now, existing media crosses over with the new media and lets people of all generations be exposed to music. When this crossover of existing media and the new media mixes together well, that’s when we have a massive explosion of great content.”

For Korea musicians, the showcase gave them an opportunity to impress the international experts, as well as get an invitation to one of the major international music fairs, such as MIDEM in France or South by Southwest in Austin, Texas.

For the showcases held yesterday at Mecenatpolis Mall and Sangsang Madang Live Hall in Hongdae, western Seoul, some of the teams that were chosen included electronic band Idiotape, rock group No Brain and Jambinai, a group that plays a fusion of post-rock and traditional music.

In addition, Korean hip-hop pioneer Drunken Tiger had a performance, together with his wife Yoon Mi-rae and longtime collaborate Bizzy, and boy group Exo also performed.

Tonight’s showcases will be held at Ellui and Beyond Museum in Gangnam, southern Seoul, starting at 7 p.m. They will feature artists Lim Kim, Rainbow, Verbal Jint and Chang Kiha and the Faces.

Korean modern rock band 3rd Line Butterfly will also play on stage at Ellui with Sieon, a singer-songwriter from Belgium.

Like yesterday, their performances will be aired live through YouTube worldwide. For more information about Mu:Con, visit www.mucon.kr.

https://koreajoongangdaily.joins.com/news
By Yim Seung-Hye [sharon@joongang.co.kr]

Featured Panel Moderator : Bernie Cho (DFSB Kollective)
Featured Artists : Drunken Tiger, 3rd Line Butterfly / Chang Kiha & The Faces / Idiotape / No Brain