Liyc deck 2013

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Liyc deck 2013

  1. 1. Vision • Live In Your City aims to be the go-to place for all live and unique recordings online.
  2. 2. Market Opportunity • Digital music services are in the midst of an unprecedented boom. – Subscribers to digital music services grew from 8 million in 2010 to 20 million in 2012 (IFPI Digital Music Reports, 2012, 2013). – Independent telecom analyst OVUM forecast that Global Digital Music Revenues will reach $20 Billion by 2015, with most of the growth attributable to “subscription services”
  3. 3. Market Opportunity • But existing subscription services focus mainly on commercially-released, label- owned recordings. They all largely offer access to the same music.
  4. 4. Market Opportunity • There are signs of demand for more and different versions of music. - YouTube has more than 800 million active users, and 9 in 10 of its most popular videos are music related - Online radio service Pandora has 66 million active, paying listeners.
  5. 5. Market Opportunity • There is room in the market for a new subscription service that offers access to different recordings, including: – Live demo tracks – Unique covers – Raw and uncut recordings – Multiple live performances of each song
  6. 6. The LIYC Licensing Model • Publishing: Reproduction/Mechanical Licenses (8% - 10% of gross project revenues, Compulsory) • Sounds Recording Licenses: If owned by artist: 5% of Net Revenues; If owned by a third party: 10% of Net Revenues. • Performance Rights: 15% of Net Revenues. • Lifting Recording Restrictions: 5% - 10% of Net Revenues, where applicable.
  7. 7. Rights Acquisition • Mechanical Licenses: from Reproduction Rights Collectives • Performance Rights and/or Live Sound Recordings: Directly from artists and performers • Live Sound Recordings: from third parties (Internet Users, Labels) • “In Bulk” Live Sound Recordings from owners of large, dormant live music archives.
  8. 8. The Labels: Lifting of Recording Restrictions • Artists are free to license performance rights with respect to all songs that are not under such restrictions (LIYC license agreement is conditional on all clearances having been acquired, case by case basis). • If restrictions do apply: Labels get compensated for monetized recordings they do not own, have not financed, and will likely never monetized (at their discretion).
  9. 9. Value Proposition for Artists • Monetization of multiple recordings that are currently either dormant, or available online for free • Live analytics allowing them real-time access to usage statistics and possibility to get paid upon request • Free access to the LIYC Vault – a storage account for their live tracks in uncompressed format (only for Exclusive artists)
  10. 10. Pricing • Existing “label-centric” subscription services range from $5 to $10 monthly, and top out at 5-6 million paying users. • Pandora’s 66 million paying users at $0.99 a month is indicative of the potential market at a lower price point. • LIYC Pricing: (a) $0.99 subscription will include streaming, access to Live Music Radio Show, content from Exclusive Live Music Bloggers; (b) $3.99 subscription will include music from unlocked archives.
  11. 11. Business Model • Revenues: – Subscriptions – Advertising – Sponsorships Subscr. Live Pass Ad TotalRevenuesLive Pass Ad Mechanical Licenses Webcasting Licenses 3rd Party Software Royalties Artist / Performer Royalties Sound Recorder Licenses Admin Expenses GrossMargin EBITDA 3rd Party • Expenses: – Licensing – Agency – Operating costs
  12. 12. LIYC Site Features • User-generated recordings and pictures • Easy-to-use manager interface for all artists • Social Media integration • Multi-platform viewing
  13. 13. Traction and Milestones • Q1 2012: Legal analysis and initial competitive analysis. • Q2-Q4 2012: Qualified the concept with senior legal departments of two major archive owners, who positively embraced the concept. Instructions were to build site and re-engage. • Q1 2013: Were offered a service package from Epipheo with service discounts directly evaluating the project at $2.56M • Q2-Q3 2013: Built initial website infrastructure; developed marketing concepts for contests; signed a first artist’s exclusive performance rights (vetted by manager and lawyer).
  14. 14. Marketing Strategy • Quarterly “Live Music Contests” • Live blogger promotion – giving access to live performances and concert reviews • Engaging managers and live venues • Engaging flagship artists and major agencies, lawyers for case by case deals • Beta launch to include “free” portion of site – radio show, blogger reviews; integrated on social media and multi-platform ready
  15. 15. High-Level Financial Projections
  16. 16. Exit Strategy • Spotify, Google, Deezer, Daisy, Apple • DCF:
  17. 17. Capital Raise / Use of Funds

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