September 25, 2006
Volume 14, Issue 12
Welcome Brilliant Technologies
Please warmly welcome Brilliant Technologies Corporation to the Operations Group. We look forward to providing valuable services to this newest DCIA Member and supporting its contributions to commercial development of the distributed computing industry.
Brilliant Technologies (formerly ATI) is a technology holding company devoted to technology identification and acquisition, as well as research and development leading to commercialization of innovative products, including proprietary technologies. Through its subsidiary, LTDnetwork, the company owns a range of cutting-edge software products developed by LTD that are designed to facilitate and enhance the purchasing experience of its own customers and those of leading Internet companies utilizing LTD products under joint-venture or licensing arrangements.
The company is currently preparing for the launch of LTD’s innovative peer-to-peer (P2P) file-sharing service, QTRAX, a groundbreaking ad-supported digital content distribution system. QTRAX is designed to provide authorized sharing, distribution, and intellectual property (IP) protection of content while driving new revenue streams from licensed online sampling of music and promotion of digital purchase or subscription.
Earlier this week Warner Music Group (WMG) and Brilliant announced an agreement to offer music from WMG’s world-renowned artists for streaming and limited download on QTRAX.
George White, SVP, Strategy and Product Development, WMG, said, "The QTRAX service represents an innovative business model, one that offers our artists another way to reach fans using the potential of P2P technology while ensuring they are fairly compensated for the use of their work."
Brilliant President & CEO, Allan Klepfisz added, "WMG, being the largest US-based family of recorded music labels, has made major moves in the area of digital distribution, maximizing the earning potential of its extensive catalog. We are proud to be in WMG’s stable of preferred distributors and look forward to working with them on developing the multi-million-transaction-per month marketplace of P2P."
LTDnetwork was the recipient of the 2006 DCIA Trendsetter’s Award.
Arvato Mobile Licenses AIM Catalog for P2P
Excerpted from Digital Media Wire Report
DCIA Member arvato mobile, a unit of German media conglomerate Bertelsmann, announced on Thursday that it has signed a licensing agreement with the Association of Independent Music (AIM), which represents over 900 record labels.
Under the deal, AIM’s catalog will be made available as digital downloads through GNAB, arvato mobile’s licensed P2P distribution network, with deals for subscriptions and video downloads expected to follow shortly.
GNAB currently powers online stores for German services jpc and in2movies, as well as Spain’s PixBox.
GNAB users can browse available titles both on the computers of other users within a particular country, as well as from a centralized server. Users who make their files available for sharing then earn rewards set by each individual retailer.
Report from CEO Marty Lafferty
 We welcome the announcement this week of the formation of the Digital Watermarking Alliance (DWA), an international group of industry-leading companies, to promote the value of digital watermarking to content owners, industry groups, policy makers, and consumers.
DWA founding members include Cinea, Digimarc, GCS Research, Jura, MediaGrid, Media Sciences International, Philips Electronics, Signum, Teletrax, Thomson, Verance, and Verimatrix. These firms are successfully delivering digital watermarking solutions to various markets, including media, entertainment, and other commercial markets.
The DCIA and our Members look forward to working closely with the DWA in the context of our P2P Digital Watermark Working Group (PDWG), which will meet next in conjunction with the upcoming P2P MEDIA SUMMIT LA, and interested, qualified parties are encouraged to contact the DCIA for more information and to register to participate.
DWA Chairman Reed Stager will be a luncheon speaker at the P2P MEDIA SUMMIT LA on October 23rd.
With movies, music, games, and software increasingly being shared digitally on the Internet through P2P and other distributed computing technologies, protecting the rights and integrity of these assets and enabling legitimate uses has become critical. At the same time, consumers are demanding instant access to entertainment content – any time, any place, and in any format.
Recognizing this critical juncture in the digital revolution, the DWA was created to advocate for digital watermarking technology and solutions that will protect and identify content while enabling the freedom and mobility that is expected by today’s consumers.
"Digital watermarking is enjoying a steady resurgence of interest now that the media industry is finding more and more applications for it throughout the content lifecycle – from creation through production, packaging, distribution, and consumption," said Bill Rosenblatt, President, GiantSteps Media Technology Strategies and Editor, DRM Watch.
"The Digital Watermarking Alliance will perform an important role in educating the industry on the wide variety of uses for digital watermarking, exchanging best practices, and generally facilitating the growth of this field whose potential is only beginning to be tapped."
Digital watermarks can identify copyrighted content and associated rights, during and after distribution, to determine copyright ownership and facilitate rights management policy while enabling innovative new content distribution and usage models. Digital watermarks are broadly deployed with billions of watermarked objects and hundreds of millions of watermark detectors in the market, supporting various applications.
There are just a few days left to take advantage of early-bird rates for the P2P MEDIA SUMMIT LA, the DCIA’s first-ever Los Angeles Conference & Exposition taking place October 23rd-26th in Santa Monica, CA, and save up to $300.
This is a must-attend event for software developers and distributors, content providers, service-and-support companies, and all other parties interested in commercial development of the P2P file-sharing marketplace.
In addition to Reed Stager, Mitch Singer, Executive Vice President, Digital Policy Group, Sony Pictures Entertainment (SPE), will be a luncheon speaker at the October 23rd DCIA Conference.
Keynote speakers include arvato mobile’s Jan Marc Külper, Brilliant Technologies’ Allan Klepfisz, and INTENT MediaWorks’ Les Ottolenghi, and VeriSign’s Todd Johnson.
Senior executives from Abacast, Altnet, Beyond Media, BitPass, Blitzfile, Digital Containers, Dreier LLP, EZTV, Fun Little Movies, HackBack Media, Indie911, Javien, LTDnetwork, MediaPass Network, Orbis Messaging, PeerApp, P2P Cash, P2P.com, RawFlow, RazorPop, SafeNet, Seamless P2P, TAG Strategic, and, Ultramercial will be featured panelists.
Registrants for the full Conference & Exposition are also entitled to admission to the Digital Hollywood Fall Conference at no additional charge. Please click here to register online or call 410-476-7965.
For sponsor packages and speaker information, please contact Karen Kaplowitz, DCIA Member Services, at 888-890-4240 or karen@dcia.info. Share wisely, and take care.
Telcordia Named Company of the Year
Frost & Sullivan honored DCIA Member Telcordia Technologies with its 2006 Company of the Year Award for demonstrating the ability to advance products with innovative capabilities in the European telecommunications market. In presenting the award, Frost & Sullivan recognized Telcordia for being the most aggressive vendor for FMC and IMS solutions.
"Telcordia is driving convergence through its Maestro portfolio of IMS-ready products, services, and applications, which enable any service over any network to any device," noted Frost & Sullivan Industry Analyst Luke Thomas. "With Telcordia’s solution, carriers can offer feature-rich, value-added services such as quad-play services of voice, video, data, and mobile. Accordingly, the company is firmly positioned to develop and implement the futuristic needs of service providers, offering fixed as well as mobile services."
The time-to-market for next-generation applications will be quicker through IMS, as carriers move away from the silo-based model of launching an OSS/BSS for every data application. This implies that carriers will share the same OSS/BSS for new data applications. In this scenario, CAPEX/OPEX costs will be reduced and carriers are likely to be more forthcoming in facing risks while launching new applications.
In addition, the use of Telcordia’s suite of innovative solutions can help deliver the vision of end-users having a single mobile device, with a single bill and most importantly, a single address book. With the ability to roll-out such services, carriers will be able to reduce churn (currently between 15 to 20 percent in Western Europe) and gain customer loyalty, leading to higher average revenue per user (ARPU).
Telcordia has approximately 560 US patents and 330 foreign patent equivalents to its credit and conducts extensive research in the areas of ADSL, ATM, Frame relay, ISDN, and several other next generation technologies.
Its current and future offerings will enable it to expand its brand globally in order to provide world-class innovative solutions and substantially gain the confidence of its customers on a long-term basis.
Frost & Sullivan presents its Company of the Year Award annually to a company that has demonstrated excellence within its industry based on numerous factors including business development, competitive strategy, and market leadership.
PlayFirst Expands Casual Games Focus to Asia
DCIA Member PlayFirst, a leading publisher of casual games, has appointed Omake Interactive Services, an Asia-Pacific gaming specialist, to cultivate long-term partnership opportunities for PlayFirst and its key titles throughout Asia and the Pacific.
"Through the explosive growth in the global online games market, we see a key opportunity to expand the reach of our popular portfolio to new markets and a chance to foster communication between the East and West to stimulate casual games innovation in both regions," said John Welch, President & CEO, PlayFirst. "Over time we hope to see our key IP titles both represented throughout Asia by forward-thinking partners and enhanced with market-relevant innovations, such as avatars, new advertising models, and item trading."
Under the terms of the agreement, Omake Interactive Services will represent PlayFirst and its winning portfolio of casual games to Asia’s game industry, including the wildly popular titles from its Diner Dash series: Diner Dash and Diner Dash 2: Restaurant Rescue. The original hit has over 150 million plays worldwide. A third game in the series is planned for later this year. The groundbreaking franchise has also expanded beyond PC and Mac download into retail, mobile and in 2007, handheld platforms such as the Sony PSP, Nintendo DS, and GameBoy Advance.
"In our role as a full-service publisher, we provide independent game developers with the funding, market intelligence and technology needed to create successful games. With Omake’s guidance to establish long-term alliances with the right partners in Asia, we anticipate enduring success in this game-savvy region," said Rich Roberts, Vice President of Business Development, PlayFirst.
BlueMaze Produces Virtual-CD for Honeytribe
Atlanta-based Livewire Recordings has just released a Virtual-CD and music download promotion for its artist Devon Allman's Honeytribe. The band, led by Devon Allman (the son of legendary Gregg Allman), is currently passing out music download cards at its shows and special events to lead the promotion. The download card contains a password and leads the consumer to an online Virtual-CD of the full-length album with a free music download and exclusive video footage.
The program was produced with DCIA Member BlueMaze Entertainment, a NY and LA based company that is quickly finding a market for its proprietary Virtual-CD technology both with artists and content rights holders, as well as companies looking to release branded soundtracks. Evan Shapiro,of BlueMaze,said, "The Virtual-CD is helping tobring back the value of album artwork andother elements that have been lost in the era of the $0.99 download."
New media promotions like this are becoming an attractive alternative to the manufacturing and distribution of traditional promotional CDs, while also allowing for wider and more immediate distribution. According to Colin Cobb, President of Livewire Recordings, "Digital promotions are increasingly important to new artist releases. The Virtual-CD of Devon Allman’s Honeytribe delivers an integrated approach through online marketing, download cards, and live events."
DCINFO readers are invited to an exclusive preview of the Virtual-CD.Please click here and enter the password "mahalo" for entry.
QTRAX Highlighted in Generator Report
DCIA Member Brilliant Technologies and Generator Research announced the publication of a new research report entitled "Ad-supported Music Services, Making a Business Out of Free Music" that details the market and operational dynamics driving the emergence of the ad-supported music download space. The report highlights Brilliant Technologies’ soon-to-be-launched P2P music file-sharing service QTRAX.
According to Founder & Vice President Andrew Sheehy, "With the QTRAX P2P music download service, users do not pay by handing over hard cash, but by agreeing to view ads. The idea is simple enough: money paid by advertisers to place ads is shared between the music service provider and the rights holders, hopefully in a way that allows the service provider to make a profit. This model will become more prevalent within the coming years."
"Major online brands such as Yahoo have a proven track record of not pioneering new categories. Instead, they watch from the sidelines as start-ups take the risks developing their business models while they are growing their user bases. Then, when it becomes apparent that a new category is becoming established on a growth trend, they acquire the top start-ups."
"If a service like QTRAX is successful, we would see the underlying business as an ideal acquisition target for companies like Yahoo!"
In preparation for QTRAX’s launch, Brilliant has been negotiating content agreements with major and independent labels, including a licensing deal with GoDigital Records announced Wednesday. According to recording artist Master P, "QTRAX is turning P2P legit - it’s the bizness, it’s for real."
Brilliant’s recent label deals have been accelerating, and now include the deal with Warner Music Group announced Monday, The Orchard two weeks ago, EMI Music Publishing last month, and going back with EMI Music, TVT Records, ASCAP (the Performing Rights Organization that represents the world’s largest repertory totaling over 8 million copyrighted musical works of every style and genre), and BMI, the American performing rights organization (PRO) that represents more than 300,000 songwriters, composers, and music publishers.
Please click here to obtain the seventeen-page report directly from Generator.
KOCH Licenses SpiralFrog P2P Service
Excerpted from Digital Media Wire Report
Independent record label KOCH Records announced on Wednesday that it has licensed its catalog for distribution through SpiralFrog’s advertising-supported free file-sharing service.
New York-based SpiralFrog has also secured licensing agreements with Universal Music Group and EMI Music Publishing for its service, which is scheduled to launch in North America in December.
First Ever Made-for-P2P Movie
Excerpted from Netribution Report
Artist Anders Weberg has created a 73 minute experimental video entitled Filter, made for - and only available on - P2P file-sharing networks.
The work was offered by the artist until one other user downloaded it, on September 15th, after which point he deleted the original file and all the materials used to create it.
"There’s no original" said the artist, pointing to the fact that the work now only exists as a digital copy, and possibly will be distributed no further if the downloader decides not to share it further. Alternatively the film could be copied, and even changed, many times over.
The artist is telling users to feel free to download the film and distribute it anyway you like as long as it stays on the P2P networks.
"‘Filter’ is fully based on the emotions that I experienced in the beginning of 2006 when I woke up one night and found my son unconscious on the floor. A couple of minutes passed by until I could bring him back. The fear and desperation I felt during this time is what the film is all about."
MSN Unveils Video-Sharing Site
Excerpted from Online Media Daily Report by Shankar Gupta
Microsoft Monday night entered the burgeoning consumer-generated video space with its own video-sharing site, MSN Soapbox.
The site, now in beta testing, will eventually be integrated with other properties in the Windows Live Network. Ultimately, users will be able to watch videos together through the messaging program – and with Windows Live Spaces, users will be able to tie their uploaded videos to their profiles and control who can see which videos, said Rob Bennett, MSN’s General Manager for Entertainment and Video. For now, the site is open only to a select few beta testers.
Bennett said that MSN believed it could still stake a claim in the nascent video-sharing arena. "Obviously YouTube has a big audience today, but it’s still Act I in this space," he said. "We think there’s a lot of room to keep innovating and provide some unique features that some services don’t."
Currently, the site is relatively no-frills, with the same core functionality offered by competitors like YouTube, Bolt Media, and Google Video. Bennett said the goal for now was to test the site’s scale and volume and get feedback from users.
Bennett also said that, in contrast to competitors like YouTube, Soapbox presents a number of out-of-the-box marketing opportunities. "One of the nice things about having Soapbox as part of the overall MSN portfolio – there are limitless ways we can monetize user-created video," he said. "We could feature them on the MSN video home page with pre-rolls, possibly – we could build a channel for MSN Autos that lets people upload videos of people customizing their cars," he said. "These are all things that we could start doing today before we even put the first ad on the Soapbox pages."
P2P Drives Bandwidth Usage
Excerpted from CNET Asia Report
As far as Malaysia is concerned, the cause of the slowdown in international links to the Internet cloud may have been determined.
A group of ISP customers around Kuala Lumpur gathered together September 15th to formalize a TM Net User Group for the Klang Valley.
Senior management staff, led by TM Net CEO Michael Lai, turned up in full force to lend support to the meeting and a dialog of sorts became an opportune moment to address the issue of international links.
Of late, broadband customers have been complaining of severe latency and speed lethargy connecting to international links.
In response, TM Net showed some stats to illustrate that the Internet pipeline linking Malaysia to the global world now totals 17 Gbps, with major links hooked to the center of Internet world, the US.
TM Net has pledged to increase this to 21 Gbps by December, and double it to 42 Gbps by end 2007.
It’s a vast connectivity for a country of 25 million people, with less than 2 percent broadband penetration. Yet, international links have been slow. Or so the customers grouse.
Out came other slides by the TM Net technical chief, showing that P2P users have been using the bandwidth.
A slide showed that, presently, a minority of 13 percent of Internet users account for 73 percent of bandwidth. Which means 10 Gbps of the total bandwidth of 17 Gbps is attributable to P2P users.
So the question is: will the increased bandwidth be taken by P2P users in the same ratio?
Sponsored Video for Three-Fourths of Users
Excerpted from Center for Media Research Report
According to a telephone poll by the AP and AOL, 71% of US Internet users who watch online video prefer to watch and download videos for free, sponsored by pre-roll advertising, while only 23% said they would prefer to pay for ad-free content.
The poll also reports that users prefer shorter videos; 20% of those surveyed had downloaded or watched a full-length movie or TV show; 54% of US Internet users consume video online; 32% of respondents say they watch more video online than they did a year ago; 80% say their TV viewing habits remain unchanged.
AOL EVP Kevin Conroy said, "Video usage is growing faster than most predicted. As more and more web users adopt broadband, demand for online video of all types, including news, music videos and concerts, TV and movies, sports highlights, and user generated video mash-ups will continue to grow at a very fast pace."
The poll, conducted by Ipsos Public Affairs among 1,347 online video watchers in the US, found that the top video categories were news, at 72%, and TV or movie clips, at 59%. Read the top-line survey responses here.
iPod Fans Shun iTunes Store
Excerpted from BBC News Report
Despite the success of Apple iTunes, few people stock their iPod with tracks from the online store, reports a study. The Jupiter Research report says that, on average, only 20 of the tracks on an iPod are from the iTunes shop.
Far more important to iPod owners, said the study, was free music ripped from CDs someone already owned or acquired from file-sharing sites. The report’s authors claimed their findings had profound implications for the future of the online music market.
They estimate that during 2006 Europeans will spend more than 385 million euros on digital music - the majority of this spending will be on tracks from Apple’s iTunes store.
However, the report into the habits of iPod users reveals that 83% of iPod owners do not buy digital music regularly. The minority, 17%, buys and downloads music, usually single tracks, at least once per month.
On average, the study reports, only 5% of the music on an iPod will be bought from online music stores. The rest will be from CDs the owner of an MP3 player already has, or tracks they have downloaded from file-sharing sites.
The report warned against simple characterizations of the music-buying public that divide people into those that pay and those that infringe. "It is not instructive to think of portable media player owners or iPod owners specifically, as homogenous groups," warned the report.
It said: "Digital music buyers do not necessarily stop file-sharing upon buying."
The importance of "free" to digital music fans should not be underestimated, warned the report, and should be a factor for newer digital music firms, such as SpiralFrog, which use an ad-supported model.
Perhaps the only salient characteristic shared by all owners of portable music players was that they were more likely to buy more music - especially CDs. "Digital music purchasing has not yet fundamentally changed the way in which digital music customers buy music," said the report.
Time to Overhaul Music Licensing
Excerpted from Media Daily News Report by Shelly Palmer
We live in a world of democratized production. Anyone with a compelling idea can use ubiquitously available hardware and software to create remarkably popular content. Funtwo, for example, has enjoyed over 7 million views of a video he created with a home video camera in one camera position with very few edits. The subject of this video is Funtwo playing guitar in his bedroom.
There are some who will argue that there are no rights issues associated with this particular video, but most people who make a living writing, performing, and selling music would disagree.
Funtwo is either playing or phantoming (lip-synching with a musical instrument) to JerryC’s arrangement of Johann Pachelbel’s Canon in D Major.
The original song is in the public domain, but JerryC’s arrangement is protectable under current copyright laws. Both of these individuals certainly have the right to work for free, but let’s assume that one or both of them wanted to get paid. How would they do it?
First we must understand the rights they might have under the current copyright laws and common practice business rules.
Master Rights – the physical master recording (audio and video). These rights are usually owned by the producer, record company or movie studio that paid for the production. You must negotiate with them to use the work.
Mechanical Rights – the 9.1 cents per cut on a CD or per download that is compulsory under the current copyright laws (it is usual and customary to only realize approximately 60 percent of this amount on any give mechanical royalty) These rights are usually negotiated for and collected by The Harry Fox Agency, although they can also be negotiated independently. These royalties are usually divided up by the record company, the publisher(s), the producers, performers, composers and other interested parties.
Public Performance Rights – if the work is broadcast or streamed over the public Internet, you are entitled to your personally negotiated fee or, if you are so inclined, you may be non-exclusively represented in the USA by one of three performing rights societies, ASCAP, BMI, or SESAC. Although the split is often the subject of negotiation, traditionally composers and their publishers split these fees 50/50. And, for the most part publishing companies administer and, therefore negotiate with people who wish to use the work.
Sync Rights – if the work is a piece of music that is synchronized to a piece of video (title music, theme music, background music, music for a music video, music for a film or TV show, etc.) you are entitled to a fee. Although the split is often the subject of negotiation, traditionally composers and their publishers split these fees 50/50. And, for the most part publishing companies administer and therefore negotiate with people who wish to use the work.
Unions & Guilds – If union performers have contributed to the work (singers, musicians, etc.) there are residual payments to be made. And, even if the performers are independent, they may still be entitled to a share of the profits from their creative contributions. This depends, of course, on how egregious the terms of the non-union performers’ contracts were with the original producers of the work.
There are other types of licenses, but these are the most common. Now, let’s say that you want to create a piece of video content that includes a music track. Where do you start? Do you have a legal department? How about a music clearance department? No, I didn’t think so. Most people don’t even know what rights they are violating when they upload or download a piece of music.
As we enter into the year of user-generated content and we start to see big sites like YouTube and MySpace as well as smaller sites like BlipTV start to profit from the sale of advertising around this content, we must create an automated marketplace for aggregated music rights.
The computer technology required to create this type of automated clearing house is trivial, but the business rules and negotiations with all of the various rights holders are not.
Internet distribution at a profitable scale is still in its infancy. We are just starting to see ways to transform value into wealth online. If Chris Anderson’s "Long Tail" theory is correct, digital content will ultimately, and counter-intuitively, start to sell under the 20/80 rule as opposed to the classic Pareto 80/20 rule that currently governs most sales curves on or offline. Now would be a great time to get out ahead of this explosive math problem, before it actually explodes!
Napster Seeks Partnership or Sale
Excerpted from PC Advisor Report by Dan Nystedt
Napster has revealed that it is in talks over a sale or possible strategic partnership. The announcement comes as a steady stream of new competitors enters the Internet music sales market, including SanDisk partnering with RealNetworks and Microsoft with its Zune Marketplace strategy.
It also comes amid a sharp downturn in user figures for Napster, which saw its user base erode to 512,000 users at the end of June, from 606,000 at the end of March.
Napster said it has hired UBS Investment Bank to assist management in the "evaluation of strategic alternatives", in response to interest from a third party in potentially acquiring or establishing a venture with the company. Napster also said it remains in a strong position to continue building its own business, with or without such a deal, highlighting its cash position of $97 million.
The announcement sent Napster’s Nasdaq-listed stock up 12.4 percent in after-market trading, to $3.99. The company set no timetable for finalizing the evaluation, and said the talks may not result in any deals.
Formed in 1999, Napster popularized P2P music sharing on the Internet, gaining notoriety when a recording industry lawsuit ultimately shut it down and set the precedent for further legal victories over similar online services. A few years after the legal defeat, Roxio bought the rights to its name, and in late 2003 relaunched it as a legal music download store.
Napster faced stiff competition from the moment of its rebirth, mainly from Apple and the iTunes Music Store. The company reported a net loss of $9.8 million in the three months ending June 30th, on revenue of $28.1 million.
Coming Events of Interest
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OMMA Awards– September 26th at the Marriot Marquis in New York, NY. The OMMA Awards honor the brand marketers, agencies and content providers who continue to push the potential of online advertising creative. The OMMA Awards celebrate the year’s most innovative and brilliant creative work in 27 categories. Submission deadline is July 28th.
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Digital Music Forum West – October 4th-5th in West Hollywood, CA. Don’t miss the opportunity to participate in the premier event for music industry decision-makers focused on digital business models and legal issues impacting music. The DCIA will present a special panel on P2P featuring Chip Venters, CEO, Digital Containers; Joey Patuleia, VP, Artist Relations, INTENT MediaWorks; Daniel Harris, CEO, MediaPass Network,; Michael Weiss, CEO, StreamCast Networks; John Desmond, VP, MediaSentry Services, SafeNet; and Eric Garland, CEO, BigChampagne.
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6th Annual Future of Music Policy Summit – October 5th–7th at McGill University in Montreal, Canada. FMC sees hosting this Summit in Canada as an opportunity to expand its perspective on a range of issues – from copyright, to sampling, to digital royalties, to radio, to how various musical communities are managing change. The music marketplace has become truly global, and some of the biggest challenges are navigating the assortment of legal and licensing schemes that encourage and/or impede the promotion and sale of music.
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Webcasts, Downloads & Ring-Tones – October 11th in San Francisco, CA. The National Association of Record Industry Professionals (NARIP) presents an overview of the legal and practical aspects of the NEW recording industry Whether you are an artist, manager, lawyer, record executive, or producer this music business overview is essential to understanding new income streams such as digital downloading, webcasting royalties, mobile music deals, video games and certain types of branding.
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P2P MEDIA SUMMIT LA – October 23rd-26th in Santa Monica, CA. The Fall DCIA Conference & Exposition will cover policy, marketing, and technology issues affecting commercial development of this emerging high-growth industry. Exhibits and demonstrations will feature industry-leading products and services. For sponsor packages and speaker information, please contact Karen Kaplowitz at 888-890-4240 or karen@dcia.info. Plan now to attend.
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Digital Hollywood Fall – October 24th-26th at Loews Santa Monica Beach Hotel in Los Angeles, CA. The preeminent digital media and entertainment conference in the country. This year featuring more than 70 different sessions and over 450 speakers. The DCIA will moderate "Track I: Next Generation P2P Music and Film - DRM, Paid for Pass-Along and Other Legal Distributed Computing Models and the Entertainment Industries."
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