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Leslie José Zigel is Chair of the Entertainment, Media & Technology Group at Greenspoon Marder, which recently launched a practice area focused on blockchain. Zigel, who is based in the law firm's Miami, FL, office, has included many high-profile recording artists and labels among his clients. In this interview with Entertainment Law & Finance Editor-in-Chief Stan Soocher, Zigel offers his thoughts on the impact of blockchain technology on the music industry. He can be reached at [email protected].
A: On the plus side, the use of smart contracts [i.e., self-executing contracts based on blockchain code] and blockchain-payment methodology allows fast processing of payments. This is far more efficient to stakeholders receiving micropayments from digital-content streaming providers.
A limitation in using smart contracts and blockchain is once you put in metadata, it's very challenging to correct it. For example, with analog music-publishing processes it's relatively easy to adjust a writer's share of authorship from, say 10% to 15%, and another writer's from 15% to 10%. Thus, one of my big concerns in implementing blockchain is making corrections with retroactive effects.
A: In general, if you have metadata that is very clear as to how someone gets paid, it will make royalty audits easier because there's much less manual processing. The challenge is how the cash is going to flow. For example, Spotify Europe passes along to Sony/ATV Europe 100% of the royalties for a particular song, and the writers' split is between the United States and Latin America, and Sony/ATV sends the money to their centralized system for disbursement. A royalty audit has to follow that chain. But does Spotify have all metadata directly or does it go to Sony/ATV Europe as a clearinghouse? Would you have to audit all the payors if there's no central intermediary?
A: Yes from an efficiency standpoint, but it will only be as good as the data that's inputted.
A: One of biggest hurdles in the music sync world is not having a centralized repository of data where people know where to go to license songs. So much of this licensing process has been handled through an institutional memory construct. When we finally get to the place where all this information is available at the touch of a button, it can help all rights holders get more licenses and dollars
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