Live In Your City aims to be an online subscription service offering unique live music recordings not found on other services. There is demand for alternative music content as digital music subscriptions are growing. Live In Your City will license live demo tracks, covers, raw recordings, and multiple performances of songs from artists. It will generate revenue from subscriptions, advertising, and sponsorships. The service will launch with free radio shows and reviews to promote its paid subscription tiers offering expanded live music archives.

2. Vision
• Live In Your City aims to be the go-to place
for all live and unique recordings online.

3. 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”

4. Market Opportunity
• But existing subscription services focus
mainly on commercially-released, label-
owned recordings. They all largely offer
access to the same music.

5. 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.

6. 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

7. 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.

8. 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.

9. 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).

10. 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)

11. 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.

12. 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

13. LIYC Site Features
• User-generated
recordings and
pictures
• Easy-to-use
manager
interface for all
artists
• Social Media
integration
• Multi-platform
viewing

14. 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).

15. 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

16. High-Level Financial Projections

17. Exit Strategy
• Spotify, Google, Deezer, Daisy, Apple
• DCF:

18. Capital Raise / Use of Funds