Music 4.5: The new science behind playlists, promotion, playola and remuneration with Brittney Bean, Founder, Tracks2

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14 April 2016 The new science behind playlists, promotion, playola and remuneration Using artificial intelligence and machine learning to understand the playlist environment and successfully promote artists and tracks. Brittney Bean, Founder, Tracks2

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@brittneybeanMusic4.5 2016
Give us your all datas, and we’ll tell you what it
means.*
*An interdisciplinary field focussed on gaining
knowledge and insight from large sets of data.

@brittneybeanMusic4.5 2016
IBM estimates that 90 percent of the data in
the world today has been created in the past
two years.

@brittneybeanMusic4.5 2016
"Field of study that gives computers the
ability to learn without being explicitly
programmed” - Arthur Samuel

@brittneybeanMusic4.5 2016
1. Spam filters in email
2. Facebook friend suggestions
3. Recommended items on Amazon

@brittneybeanMusic4.5 2016
Streaming data is HUGE and so social data and so is
anti-social data and so is media data and so is
advertising data and so is broadcast data and so is
historical data and so is music specific meta data and so
is…you get the point

@brittneybeanMusic4.5 2016
Playlists are spreadsheets.
Spreadsheets are ways to organise data.
The more organised data we have, the easier it is to build
models for it.
The more models we have, the more we can learn.

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Creating and running a comprehensive, global music rights database is notoriously tricky and has been tried a number of times by the music industry, with the GRD as the latest failed initiative. What is the viability of these databases on a local /national/global basis? And what is the likelihood of success for particular approaches based on historical experience? Is the time now right for the technology giants to supply such a database, especially as they are creating their own rights information systems?

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The New Challengers: C3S – a new European collecting society With the vision of becoming a modern European collecting society operating in every single European country and beyond, the Cultural Commons Collecting Society was created in 2010. Offering all rights reserved, Creative Commons, as well as licensing for semi-pro and home produced UGC, C3S acknowledges a variety of license types to enable individual strategies, for artists & businesses, as well as users as new creatives. What effect on the market does the new competitive landscape have? Wolfgang Senges, Executive Director, C3S - The Cultural Commons Collecting Society

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The New Audiovisual Sector – Rightsholders’ Rights and Territoriality How do rightsholders’ rights function for audiovisual works in the rise of a new UGC audiovisual sector? How does territoriality finance works in audiovisual? Is the balance starting to shift between tech business interests wanting a loosening of rightsholders’ rights and the content owners lobbying for strong rights? What about the user in this balancing act? Jane Dyball, CEO, MCPS / IMPEL / PMLL

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Opening up the walled garden of data — using public data to create new revenue streams Too many (big) data sets live in walled gardens and thus limit innovation to a few people. Creating open data sets levels the playing field and allows many people to participate in value creation in the music industry. A new value proposition to the music tech community promises to shake up the discovery and recommendation space. Robert Kaye, Founder, Musicbrainz and Acousticbrainz

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