Licensed to Play June 2013

Technology is galloping along at such a breathtaking pace that sometimes we feel we can barely keep up. And so it is in the music industry, where complex multi-platform media offerings are becoming more and more common – and SAMRO has to keep up with developments from a licensing point of view.

In this edition of Licensed to Play, we look more closely at this convergence of entertainment technologies by examining one such case study – Planet RadioTV, an online service that combines radio and television broadcasting with social media and smartphone capabilities – while considering its implications from a music usage point of view.

Speaking of the digital revolution, we also profile simfy Africa, a recently launched digital music streaming service with its roots right here in South Africa.

We also bring you the winners in our inaugural WAWELA Music Awards, which reward music creators who have excelled locally and internationally. Plus, we profile legendary reggae producer Saggy Saggila and sublime soul songstress Auriol Hays.

Enjoy!

Yours in music,

Tiyani Maluleke

General Manager: Marketing

SAMRO

HOW SAMRO DEALS WITH THE CHALLENGE OF MULTI-PURPOSE LICENSING

The convergence of technologies used by entertainment providers such as Planet RadioTV presents novel challenges for SAMRO and its licensees, with content now bridging multiple platforms and – in the case of PRTV – spanning international territories.

So, if you’re considering setting up a service similar to PRTV, what do you need to think about? Xolani Zulu, Me-chanical Rights Accounts Executive at SAMRO, explains more about this complex issue.

He says: “In the case of PRTV, multiple licences are required. Firstly, a streaming licence is needed, which includes Performing Rights and Mechanical Rights. Mechanical Rights pertain to the uploading of music content for stream-ing purposes. Performing Rights kick in when the music is played on air. Of course, the same rights and licence fees apply for the TV and radio components of the PRTV service, and we also take into account the entire revenue model of the service. In effect, it becomes a comprehensive licence.”

The PRTV service highlights once again that no two businesses are identical. Zulu says SAMRO does not have a one-size-fits all approach to licensing, but assesses each application on a case-by-case basis. In each case, SAMRO will identify areas in which music usage rights may accrue – and this goes beyond Performing and Mechanical Rights. In fact, SAMRO looks at the whole picture and its music usage tariff could be a percentage of all revenue generated by the service.

“We look at the total revenue generated,” explains Zulu. “For example, a website that streams music may also generate revenue via subscription fees, advertising and other revenue streams. The first step is for SAMRO to de-termine a minimum fee for the broadcaster, which is based on anticipated music usage. Then, SAMRO compares this to the gross revenue of the site – including all additional revenue streams. If the percentage of revenue due is lower than the minimum fee, the minimum fee will apply. If the percentage amount is higher than the minimum fee, SAMRO will work off that amount.”

The PRTV case study becomes even more complex because the service spans not only several platforms, but also a number of international territories. Zulu says that the licence is determined by the location of the server from which the content is streamed. “So, even though a service might broadcast to Nairobi and Lagos, if the signal origi-nates in the UK, then the service is licensed in that country.”

That’s another thing to consider when establishing an offering of this kind. With the global network of high-quality internet servers available for rent in many countries around the world, broadcasters may look for a more afford-able server solution internationally. When doing so, one must take into account that differing licence fee structures may affect your final costs. In other words, you could end up paying less for your online costs, but more for your music usage. Therefore, it’s a good idea to contact SAMRO OLS (Online and Streaming Services) for guidance.

For SAMRO, the convergence of media platforms has increased the need for an integrated licensing solution.

•For more information, email xolani.zulu@samro.org.za.

FIRST WAWELA MUSIC AWARDS GIVE THUMBS-UP TO COMPOSERS

Original music was the big winner at the inaugural Wawela Music Awards on Friday night, at which the shining lights of South African songwriting were celebrated.

On Friday, 28 June 2013, a constellation of the country’s music stars gathered at the Sandton Convention Centre to pay tribute to an elite group of music composers and authors whose work has made a significant impact locally and abroad.

Presented by Gareth Cliff and Azania Mosaka, the event aptly illustrated the power wielded by creators of original, homegrown music as guests were entertained by the eclectic sounds of The Soil, Phuzekhemisi and Koos Kombuis, with one of the highlights of the evening being an electrifying duet between Dorothy Masuku and Nhlanhla Nciza from Mafikizolo.

The isiZulu word “Wawela” means “to go beyond”, and this SAMRO initiative was launched to give credit to local music creators who have achieved excellence in their craft across various platforms, including composing for film, radio and television.

The awards ceremony – the first of its kind in the country dedicated to honouring composers – saw the industry uniting to applaud the leading lights, trailblazers and unsung heroes of the South African music scene.

The Standard Awards were open to SAMRO members, who were required to submit entries accompanied by motivations. The major winner on the night was Kgomotso Mashigo, also known as jazzy-pop songstress Black Porcelain, who walked off with two awards: for Best Creative Album and Best Female Artist and Composer.

The sublime Lira was crowned Songwriter of the Year, while Tumi and the Volume were named South African Best Duo or Group. The multi-talented self-taught musician Daniel Baron took home the trophy for Best Male Artist and Composer.

Other winners were celebrated composer Philip Miller, whose score for the film Leaving Father was voted Best Soundtrack in a Feature Film or Theatric Documentary, and former Via Afrika vocalist René Veldsman, whose music for the Shoprite advert was judged Best Song or Composition in a Radio Commercial.

Composer and sound designer Gregory Reveret took home the Wawela Music Award for Best Song or Composition in a Television Production, for Loxion Kulca Roots, while Jeramy James Barnard bagged top honours for best song or composition in a television commercial for his work on the Bells advert.

The judging panel, comprising respected names drawn from the industry, also handed out a number of Special Awards on the night. Among these were Inaugural Recognition Awards that honoured the immense contribution made by South Africans whose groundbreaking work has enriched the reputation of the local music industry.

The five awards went to Los Angeles-based film and television score composer and production music library pioneer Alan Lazar, who made his name in South Africa as a member of Mango Groove; world-renowned writer, composer and producer Mbongeni Ngema, whose Sarafina! musical took Broadway by storm; keyboard player, composer, producer, and studio and record label owner Sizwe Zako, who has taken local gospel music to dizzying heights; Golden Globe-nominated film music composer Trevor Jones, who went from District Six to the bright lights of Hollywood thanks to his twin passions for cinema and music; and Lebo M, the celebrated singer, songwriter, composer and musician whose music for The Lion King scooped a Grammy.

Jones also scooped the Breaking Through the Borders Award. JB Arthur, a South African Music Award- and Emmy Award-winning composer, musical arranger and producer, was rewarded for his international success with the Statistical Award for Broadcast and Live performances.

The Lifetime Achievement Award went to the evergreen Dorothy Masuku, a pioneering force in Southern African music who continues to perform, enchant and inspire. And Johnny Clegg, one of the country’s most beloved musical sons who has sown the seeds of South African music around the world while producing work of a consistently high calibre, received the Prolific Catalogue of Works Award.

THE 2013 WAWELA MUSIC AWARDS WINNERS

Best soundtrack in a feature film or theatric documentary:

Philip Miller for Leaving Father

Best song or composition in a television production:

Gregory Reveret for Loxion Kulca Roots

Best song or composition in a television commercial:

Jeramy James Barnard for the Bells commercial

Best song or composition in a radio commercial:

Rene Veldsman for the Shoprite commercial

Best creative album of the year:

Black Porcelain for Invincible Summer

Songwriter of the year:

LIRA

Best South African duo/group:

Tumi and the Volume

Best female artist & composer/co-composer:

Black Porcelain

Best male artist & composer/co-composer:

Daniel Baron

Statistical Award

JB Arthur

Wawela Inaugural Recognition Awards

– Alan Lazar

– Mbongeni Ngema

– Lebo M

– Trevor Jones

– Sizwe Zako

Breaking Through the Borders Award

Trevor Jones

Prolific Catalogue of Works Award

Johnny Clegg

Lifetime Achievement Award

Dorothy Masuku

LICENSEE PROFILE: SIMFY AFRICA

For too long, it’s been difficult for South African music lovers to stream music from the internet. But since simfy Africa was launched in August 2012, SA users have listened to many millions of tracks and created over 75 000 playlists.

For a nominal monthly subscription fee, users have access to some 20 million songs for online streaming, with more being added every month. A partnership between local South African digital content company eXactmobile and European streaming provider simfy, this user-friendly streaming portal offers music lovers an extensive library of local and international music, which is accessible around the clock from your desktop computer, laptop, tablet or smartphone.

Now, simfy has improved its offering and released a set of updated mobile applications. Users can now enjoy a faster, more intelligent search, better graphics, faster loading of streaming tracks and more control over data usage.

What does this mean for the user? Better access to new releases, classic albums and customised playlists on your Android, iOS and BlackBerry smartphones. “The all-new apps are a giant step forward, featuring fresh design and improved usability and stability, as they were rewritten from scratch,” comments simfy Africa CEO Davin Mole.

Adds Xolani Zulu, Mechanical Rights Accounts Executive at SAMRO: “Digital music is driven by consumer choice and instant gratification. Globally, revenue generated through streaming has for the first time surpassed both MP3 downloads and CD sales. This shift signifies yet another evolution in music consumption trends.”

Simfy’s new apps also offer features previously available only via the web and desktop interfaces. “We feel this is critical in Africa with the bias towards mobile as the access method of choice,” explains Mole.

In fact, the new BlackBerry app was developed locally. Mole says: “This app was developed for the specific challenges of our environment – like [unpredictable] signal quality and the high cost of data.” The result: the new BB app feels like a high-powered smartphone app and offers “touch and type” recognition.

“We offer all types of music, as you would expect with a repertoire of 20 million tracks,” comments Mole, adding that while simfy Africa offers all types of music, South African music is a key focus for the service.

Zulu points out that “simfy Africa is well positioned to fulfill the need [for an online music streaming service] in Africa. For a monthly subscription fee, it offers a large and diverse catalogue, literally giving its users a track for every mood. Streaming is instant, and you don’t have to commit to any track as you would with a permanent download.”

Simfy Africa is a SAMRO licensee and also invites musicians to upload and share their original works via its portal. As soon as contracts are signed, music can be digitised and loaded to the site for sharing and download. Simfy states the following on its landing page: “To the benefit of everybody, we share our revenue with labels and their artists.”

•Register for a free two-week trial and start streaming at www.simfyafrica.com, and you can find a full guide to the new apps at http://next.simfyafrica.com.

Email music@simfyafrica.com for more information about licensing original tracks.

MEMBER PROFILE: AURIOL HAYS

Jazz darling, SA Music Awards nominee and diva divine Auriol Hays approaches her life and her music career with a disarming honesty and candour. Her soulful notes and lyrical intensity permeate both her albums and her live performances, drawing a devoted audience back time and again.

And she is just as straightforward when it comes to the business of music: “In this industry, it is in your best inter-ests to know your rights and obligations,” she says.

“People often assume that because you are famous, you are doing well. But musicians struggle; your income is never guaranteed. I am a single mother and I have nothing to fall back on. I have made a conscious choice to be a musician and I make sure that I earn as much as I can and am entitled to.”

Hays says that many get flummoxed by the business end of music and one of her keys to success has been, through luck, providence and intent, to surround herself with the right people in the industry.

“If you don’t understand something, make it a point to ask – it is in your best interests. You need to take care of the business end, so that you can enjoy music,” says Hays adamantly.

Whether she is working with a venue, a record producer or a fellow musician, she always ensures that everything is in order, licences are in place, contracts are written and everything is signed and sealed before they start. “That way,” she says, “everyone knows where they stand and it doesn’t lead to hassles and complications afterwards.”

At the moment Hays has a few projects on the go, including a show at the Baxter Theatre, a music video and plans for an overseas tour later in the year. She is also working on her third album and admits to finding it harder going than the previous one. Call it Love – Anima Sola was an emotionally intimate album that chronicled her relationship sorrows. Now she says she is no longer in that space and there is no personal torment reflected in the tracks. “It will be a very different album with different influences and material.”

• Visit www.auriolhays.com to find out more.

LICENSEE PROFILE: PLANET RADIOTV

New technology and increasing internet penetration in Africa are presenting ever-increasing opportunities for resourceful business people to use music to create value for themselves. Such an initiative is Planet RadioTV, an online radio and television station that harnesses the power of multiple media platforms to capture a whole new audience and support music on the continent.

At the same time, this new multimedia concept raises interesting issues around licensing and music usage, as it spans a variety of channels and multiple territories.

Johannesburg-based PRTV is the vision of Wale Akinlabi and Mabel Philisile Mabaso, Nigerian and South African entrepreneurs respectively. It introduces a new concept in music entertainment, synchronising a number of media – radio, television, social networking and cellular technology – to broadcast across the African continent and glob-ally.

This internet-based radio and TV station merges these various formats into one platform, allowing for increased reach and interaction between broadcaster and end user. The PRTV channel broadcasts 80% African music and life-style content and 20% international music, targeting 13- to 35-year-old viewers.

PRTV focuses on all genres of music from across Africa, including modern popular music. As the first of its kind on the continent, this is a platform where viewers and listeners from around the globe can enjoy African stories, mu-sic, fashion, innovation and culture. The channel aims to convey the importance of culture, music and dance tradi-tions from across the continent to its audience.

“In view of all the aforementioned, music rights owners who are members of SAMRO stand to enjoy not only global reach for their work but also rake in extra revenue from our global platform,” says Akinlabi.

Planet RadioTV is another example of how music users are finding creative and resourceful ways to generate revenue from African music and create new ecosystems in which both licensees and composersmusicians can thrive. SAMRO is playing its part by endeavouring to make the licensing process as simple as possible (see the ac-companying story for more details on how SAMRO licenses users of multiple music and entertainment platforms).

• Visit http://planetradio.co.za for more information.

Facebook + Twitter Feeds

Contents: