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. If the technology is so efficient and effective, why is it not being employed more widely?
Peter's first career was as a songwriter, performer and music producer in the early 1990’s. He moved into the broadcasting industry when he joined ITV’s Music Department in 1995.
In 1997 he joined the BBC’s Music Copyright team and then became Rights Negotiation Manager responsible for all the BBC's music licensing agreements across all TV, Radio, and new media platforms including the iPlayer, online streaming, podcasting and commercial products.
Peter became Head of Rights for BBC Global News in 2011 where he was responsible for all worldwide rights issues across the content of the BBC World Service, BBC World News and their online and syndication activities.
In January 2013 he joined Sky Television as Head of Music.
Mark Gordon runs Score Draw Music, which for nearly 10 years has been supplying music for visual media to an expanding range of global clients. He has worked across drama, documentary, factual, children's television and advertising. Mark has also remixed for labels that range from , Columbia and Sony to Moshi Moshi (UK) to Saddle Creek Records (US).
Lynne Lummel, ASCAP Senior Vice President of Distribution and Repertory, oversees the distribution of hundreds of millions of dollars in royalty payments each year to ASCAP’s songwriter, composer and publisher members for the public performance of their music. Each year ASCAP receives millions of work registrations and hundreds of billions of musical performance notifications from music users such as TV, radio, Internet, background music, digital jukebox, live concerts, theme parks and even circuses and ice shows. She has been instrumental in introducing new technology at ASCAP to be able to expand ASCAP’s ability to obtain musical performance data at the same time it streamlines operations and reduces costs. Since joining ASCAP in 1988, she has also worked with the Licensing, Legal and Human Resources Departments. Papers on her work at ASCAP have been published in the Journal of High Performance Teams and Reward and Recognition for Teams (Jossey-Bass) and presented at industry conferences. She has represented ASCAP on industry panels and has made presentations to industry groups. She has a doctoral degree from Columbia University, a master’s degree from the University of Florida and a bachelor’s degree from Florida State University.
Established in 1914, ASCAP is the first and leading US Performing Rights Organization (PRO) representing over 8.5 million musical works of every style and genre for more than 415,000 songwriter, composer and music publisher members. ASCAP has representation arrangements with similar foreign organization so that the ASCAP repertory is represented in nearly every country around the world where copyright law exists. ASCAP protects the rights of its members and foreign affiliates by licensing the public performances of their copyrighted works and distributing royalties based upon surveyed performances.
Until recently Mark was the Operations Manager at the BBC World Service, responsible for the delivery of English audio content and associated data to a weekly audience of over 38 million around the world through multiple broadcast channels and IP platforms.
He started his BBC career in the Commercial Recordings Library and has since worked in various roles in programme making, marketing and business development. He has consistently used technology in innovative ways to improve the way programmes are produced, promoted and distributed, implementing systems to better manage, broadcast and report content.
Mark initially focused on music - producing music radio shows and commissioning signature tunes/music branding, before becoming Operations Manager where he played a leading part in the digitisation of broadcast operations, music reporting, and programme archiving. This led to his role as SEO consultant where he researched, wrote and introduced the SEO policy for the BBC foreign language teams. He also played a key role in the introduction, management and development of the first digital programme archive at the BBC.
He has recently moved to the BBC’s Internet Research and Future Services team where he is exploring ways to unlock archives using automatically generated and crowd-sourced metadata. Prior to joining the BBC, he managed a number of high street record shops.
Chris Woods is an accomplished composer, musician, producer and engineer with more than 15 years of experience in the music business and sound processing technologies. A graduate of the Berklee School of Music, he’s created music branding packages for numerous television networks, including Fox Sports, Versus and Big Ten. Since co-founding TuneSat in 2007, Woods has been instrumental in building the company’s technological portfolio, including the surveying, acquisition and development of audio fingerprinting algorithms. His personal knowledge of practical music royalty collection issues gives him unique insight into how and why the system for monitoring, reporting and collection of music on television, radio and the internet needs to change.