3 New opportunities and data exchange pathways 10:00 – 11:00

MRT solutions are today being applied across the music industry value chain, from creating set lists at festivals, playlists in retail spaces, clubs and other venues, cue sheets for both linear programs and streaming, recognising UGC, matching music used online, legitimately or not. Solutions are also being used to enable the end consumer to identify, purchase and consume individual items of music.
What is so new and different when applying MRT services? What are the benefits and challenges? How is the market expanding at this time?

Speakers:
Mark Douglas – Phonographic Performance Ltd (PPL) (Moderator)
Yuri Dokter – DJ Monitor
Mark Vermaat – Orfium
Alex Batterbee – Sony Music Publishing

4  MRT and collective rights management 11:30 – 12:30

The volumes of usage of musical works and sound recordings places a big responsibility on collective rights organisations to match such usage and distribute revenues to the correct rights owners. MRT can be used to identify such usage in streaming broadcasting, clubs and retail spaces, to name but a few. Library music and commissioned music can also be recognised and rights owners remunerated in ways that were not possible before.
How do we ensure that the right recording is matched to the right musical work? Where is the information coming from? How is this communicated between MRT service providers, the collective rights management companies and the rights holders?

Speakers:
Richard Thompson – The Mechanical Licensing Collective (Moderator)
Tuomas Talonpoika – Gramex Finland
Jens Kindermann – GEMA
Nan Wilson – BMAT Music Innovation

5  MRT for consumers 14:00 – 14:45

Previous panels have explored how MRT is being used in the traditional and online world of exploiting audio. MRT is also being applied to find solutions for internal business processes, to manage data and organise information. At the same time MRT enables a different kind of service directly benefiting the end consumer. Music discovery and consumption sits at the other spectrum of using MRT for the management of internal business process.
Does the wide scope of MRT application share the same challenges? How can we ensure that the right recording is being detected for the application at hand? Who is accountable for what portion of the puzzle?

Speakers:
Abbie Triggs – On Music (Moderator)
Conrad Capalbo – Sony Music Entertainment
Gary Hofstetter – Warner Music Group
Johnny Booth – Vevo

6  ISCC: A solution to some challenges presented by generative AI? 14:45 – 15:45

There are many different meanings or associations relating to “fingerprint” and how different fingerprinting technologies are being applied for various specific purposes. One such “fingerprint” is set to offer a way of authenticating content and embedding metadata.
How and why this is done, and what potentially will change as a result? This will be presented by the ISCC Foundation, the founders of the International Standard Content Code which is soon to be an ISO standard. A panel will then discuss its relevance to the music industry as a whole.

Speakers:
Matt Phipps Taylor – peermusic (Moderator)
Sebastian Posth – International Standard Content Code Foundation
Pascale Giovetti – Beggars Group

7  UGC and the social media dilemma 16:15 – 17:30

DSPs are probably the longest established of the DDEX members to deploy MRT as part of their services and their need to report licenses for the use of the music. However, identifying music in the context of UGC services poses its own unique challenges.
What does MRT offer in this context? What solutions can MRT bring to the challenges associated with UGC services? Where are the pain points and how can these be addressed?

Speakers:
Sara Jackson – Meta (Moderator)
Andrew DeWitt – Audible Magic
Chelsea Johnson – Kobalt Music Publishing
Ben Markowitz – Bytedance

8  General discussion 17:30 – 18:00

9  Cocktail reception 18:00 – 19:30