September 7, 2012Vol 1 Issue 2

www.soundexchange.com

In ThIs IssueDIGITAL RADIO ROYALTIES MILESTONE . . . . . . . . . . . . . . . 2

50,000 ARTISTS AND LABELS STILL UNCLAIMED . . . . . . . . 4

ThE ROAD TO $1 BILLION INfOGRAphIC . . . . . . . . . . . . . . 5

LEGISLATIVE UpDATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

NEw MUSIC SEMINAR REwIND . . . . . . . . . . . . . . . . . . . . . . 9

SOUNDEXChANGE ONLINE REGISTRATION: NEw AND IMpROVED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

BACKSTAGE wITh JENNIfER pAIGE . . . . . . . . . . . . . . . . . . . 15

JUNIOR’S MUST hAVE GEAR . . . . . . . . . . . . . . . . . . . . . . . . . 18

fALL MUSIC fESTIVALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

fEATURED CONfERENCE: DRIVEN MUSIC CONfERENCE . . . . . . . . . . . . . . . . . . . . . . . 24

SX EVENTS CALENDAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

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www.soundexchange.comSeptember 7, 2012Vol 1 Issue 2

DIGITAL RADIO ROYALTIes MILesTOne

In June, SoundExchange made its official announcement of a milestone more

than 10 years in the making: the distribution of its ONE BILLIONTH DOLLAR

to artists and labels. To celebrate the achievement, SoundExchange enlisted

the help of its independent artist friends such as Carbon Leaf, Jennifer Paige,

Miss Amy, Shane hines, Vital, and others to share their stories through video

testimonials and quotes. (SoundByte readers are encouraged to visit their

websites and Facebook pages. If you haven’t heard of these names already,

you will soon.) As part of the campaign, SoundExchange created a number of

graphics to highlight the testimonials from the artists who have pledged their

support of SoundExchange.

SoundExchange also wanted to demonstrate that much of the work done inside

its walls is handled by real people who truly care about ensuring that recording

artists and record labels receive the money they are due when their music is

played in the digital space. The organization created “Behind the Check,” a video

featuring staff discussing in their own words how they work to support artists

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and labels worldwide. The video is available to watch here. Be sure to

share with your family and friends on Twitter and Facebook!

“Reaching this milestone proves that the digital music industry is succeeding and

will continue to grow,” said Michael Huppe, president, SoundExchange. “We’re

optimistic about where the music industry is headed and see opportunity for

SoundExchange to help both creators and digital music services thrive. We’re

proud of this achievement and everything we’ve done to ensure that this money

makes its way into the hands of artist and labels.”

Artists and labels: If you haven’t already, share your story with SoundExchange.

And help SoundExchange continue to spread the good news about its milestone

achievement by sharing the news with your family and friends through social

media, email and word of mouth and support $1 billion more!

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50,000 ARTIsTs AnD LABeLs sTILL unCLAIMeD Despite the investment SoundExchange continues to make to register artists and labels, more than 50,000 artists and labels still have yet to claim their digital performance royalties SoundExchange recently published a list of more than 50,000 individuals with

unclaimed digital performance royalties. The organization released this list in

hopes of encouraging recording artists and record labels to register with them to

receive the millions of dollars of royalties that still remain unclaimed.

SoundExchange is the nonprofit that has been appointed by law to collect

royalties for recording artists, record labels and copyright owners every time

their sound recording is used on satellite radio, Internet radio and cable TV

music channels. As a result, the organization has millions in unclaimed digital

performance royalties waiting for those that have earned them.

“The digital music industry is continuing to grow, providing recording artists

and record labels with an increasingly beneficial revenue stream. We are doing

everything possible to make sure artists and labels know that and capitalize on

it,” said SoundExchange President Michael Huppe. “SoundExchange is releasing

this list in hopes of getting artists and copyright holders to claim their digital

performance royalties. We want to get the money out of our bank account and

into theirs – plain and simple.”

To register, visit http://sndx.co/register

SoundExchange regularly places ads in hopes of getting artists and labels to register. Above: an online ad from January 2012.

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The ROAD TO $1 BILLIOn InfOGRAphICIf you’ve ever wondered what the road SoundExchange has taken to distribute

$1 billion in digital royalties looks like, go no further. The organization has

created a road map that will take you from the beginnings of digital music to

SoundExchange’s distribution of its billionth dollar earlier this summer.

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LeGIsLATIve upDATe:Performance Rights and Digital Royalties Heat Up in CongressTwo bills are gathering attention on Capitol Hill and in the press surrounding

“performance royalties,” the payments radio companies make to artists and

music creators in exchange for broadcasting their songs.

Internet radio proponents are pushing the “Fair Internet Radio Royalties Act of

2012” draft legislation sponsored by Rep. Jason Chaffetz (R-UT). The bill claims

to erase differences in the calculation of payments from various digital music

services to performers and music creators. To do so, the legislation would reduce

royalty rates for Internet radio stations to the so-called 801(b) standard, which

is currently being used by only a handful of companies such as satellite radio

services and certain cable music services that were grandfathered into this lower

standard. In reality, the bill could drastically slash digital performance royalties

to artists, labels and everyone else in the creative community participating in the

digital performance revenue stream.

This bill also fails to address the most important disparity between music

services: AM/FM broadcasters enjoy a unique and decades-old exemption from

paying any performance royalties to recording artists and record labels. AM/FM

radio makes billions in advertising revenue every year without paying a single

penny to the musicians that created the songs they play. By ignoring this special

loophole for broadcast radio, the bill lets stand one of the greatest inequities in

the music industry today.

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Ray Hair, international president, American Federation of Musicians (and a

SoundExchange board member), warned in a recent op-ed that the bill “could

set us back decades…[i]nstead of ensuring that terrestrial radio stations pay

musicians fairly…it would allow the digital platforms to pay musicians less too, at

rates far below market value.”

Fortunately, this attempt to drastically change the music landscape has prompted

a response: the draft “Interim Fairness in Radio Starting Today Act of 2012,” from

Rep. Jerrold Nadler (D-NY). This proposed legislation recognizes the need for

real equality in the calculation of payments by Internet music services without

slashing payments to music creators by adopting the “willing buyer/willing seller”

standard (currently used for Internet radio rates) for all digital platforms including

Internet radio, satellite radio and cable music services. The bill also takes a step

toward addressing terrestrial radio’s unfair exemption.

Under existing law, different types of services operating under the statutory

license (that SoundExchange administers) have their royalty rates set by different

rules. Internet radio companies like Pandora, and most of the more than 1,800

services that pay SoundExchange, pay based on a “willing buyer, willing seller”

standard. This standard directs the Copyright Royalty Board (CRB) to set royalty

rates representing the fair market value for the recordings that they use (i.e.

what a “willing buyer/willing seller” would negotiate if there were no statutory

license). These Internet radio, satellite and cable TV services are built upon the

content from this creative community, and it’s only fair that they pay what music

creators could get in the marketplace.

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Ironically, satellite radio behemoth SiriusXM does not have its rates set by the

“willing buyer/willing seller” standard. Instead, because of a special interest

legislative loophole, SiriusXM’s rates are set at a below market rate by the CRB.

As a result, SiriusXM rates were slashed between 25 percent and 50 percent in

the last CRB proceeding.

Since that proceeding, Sirius and XM merged and now, according to Q2 2012

financial results, the combined company projects $3.4 billion in revenues, and

free cash flow of approximately $700 million this year. While SiriusXM maintains

a cheerful outlook, it was the creative community that subsidized SiriusXM’s

growth.

Now Pandora wants to pay less, too, even as it has thrived under the current

standard, celebrating a successful IPO and achieving explosive growth. The

company beat its financial guidance the past two consecutive quarters, and

with its Q2 FY 2013 earnings report, raised its full-year revenue forecast to $425

million to $432 million. Pandora has also increased its market share, with listener

hours up 80 percent year-over-year.

SoundExchange agrees with Pandora Founder Tim Westergren, who recently

testified to Congress that “it is time…to level the playing field and to approach

radio royalties in a technology neutral manner.” However, SoundExchange

believes that all digital radio services should compensate artists and creators at a

market rate. The organization also believes that the real injustice is the fact that

terrestrial radio pays nothing at all.

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Nadler’s proposed “Interim Fairness in Radio Starting Today Act of 2012” could

begin to address these issues. In contrast, the so-called Internet Radio Fairness

Act could be a step backward for the creative community.

It’s SoundExchange’s mission to help support, protect and propel the digital

music industry forward. The organization stands behind the creative community,

and the interests of the signed and unsigned recording artists, and small,

medium and large record companies that it represents. But more importantly,

the organization works to support the work and efforts of the creative

community who dedicate their lives to the music and entertainment that we all

enjoy. For this reason, SoundExchange will continue to work toward supporting

the singular cause of ensuring the long-term value of music.

new MusIC seMInAR RewInD New Music Seminar: SoundExchange Digital Broadcasting SummitIf there were any doubts about New Music Seminar’s (NMS) ability to draw a

crowd or bring passion back to the music industry, Tom Silverman and Dave

Lowry, founders of NMS, put those doubts to rest and proved they “still got it.”

This year the event, themed Appetite for Disruption, was fittingly held at

New York City’s Webster Hall — a venue which has a deep 140-year history

that parallels much of the music industry itself. NMS kicked off June 17 with

an opening night event that brought together more than 1,500 attendees

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representing all corners of the music

business. Attendees were greeted

with a DJ set and their first of many

opportunities throughout the three-

day event to foster relationships with

members from around the music

community. The sessions that followed

were packed with informative content from more than 165 speakers and live

performances from 100+ artists at over 15 different venues throughout the city

as part of the newly proclaimed “New York City Music Week.”

As title sponsors of the first NMS SoundExchange Digital Broadcasting Summit,

SoundExchange had the unique opportunity to bring together artists, record labels

and broadcasters – leaders from the entire creative community – all under one roof.

SoundExchange President Michael Huppe

helped to kick-off the event with a warm

introduction to the crowd. “While we remain

nostalgic for the golden days of radio and our

industry’s past, it’s important to remember

that the next chapter is just beginning. It has

been said ‘when you change the way you

look at things, the way things look change.’

And I believe that’s why we’re all here –

SoundExchange President Michael Huppe addresses the crowd.

While we remain nostalgic for the

golden days of radio and our industry’s

past, it’s important to remember that the

next chapter is just beginning.

~ Michael huppeSoundExchange President

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to take a new look and to shape and lay the foundation for the next generation

of the music industry.” New Music Seminar’s Tom Silverman also urged the music

community gathered there to take the future of the industry into their own

hands, saying, “It’s time for the music industry to stop being disrupted and start

being the disrupter.”

NMS also featured 18-minute intensives from industry leaders, including: Huppe;

Adam Klein, president and CEO, e-Music; Yancey Strickler, co-founder, Kickstarter;

and Tim Westergren, co-founder and chief strategy officer, Pandora. The event

also included a surprise Q&A interview with Sean Parker, executive general

partner, Founders Fund, moderated by Tom Silverman. The event closed with an

artist’s panel that featured Chuck D, Wyclef Jean, Hoodie Allen and more.

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NMS Panel Recap: When Will Internet Radio Make Over-the-Air Dollars?Internet radio experts were bullish about the future of their industry during a

panel organized by SoundExchange at the New Music Seminar in New York City

on June 18. The panel, “When Will Internet Radio Start Making Over-the-Air

Dollars?,” was led by Kurt Hanson, publisher of the RAIN newsletter and CEO

of AccuRadio, and featured Mike Agovino of Triton Digital, Eyal Goldwerger of

TargetSpot, Rusty Hodge of Soma FM, Steven Kritzman of Pandora, and Carl

Rohling from TuneIn Radio.

Panelists discussed the mix of ways Internet radio services can make money,

highlighting advertising, subscription models and in some cases donations

from listeners.

“We’re still in the second inning of a nine-inning game,” Kritzman, Pandora’s

senior vice president of sales, said of the industry’s efforts to monetize Internet

radio. “[Ad] revenue follows the audience. If you look at the trends, [the

audience] is coming to Internet radio.”

Goldwerger agreed. “The market takes time to form, but it’s happening now,”

he said. Added Hodge of Soma FM, a listener-supported service: “There’s a

delayed reward – we’ve built up our audience over the years, and now we’re

seeing the rewards.”

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The keys to increased advertising revenue are better audience measurement

tools, education and innovation, panelists said. Kritzman emphasized the

importance of a unified form of measuring radio audiences across all forms of

delivery in a way that can make ad agency customers comfortable buying spots

on Internet radio. Goldwerger also stressed educating marketing departments

about the value of digital audio and increasing innovation in how ad units are

sold and spots are targeted.

Panelists discussed the importance of Internet radio in the car. “We see that as a

big part of our future,” Pandora’s Kritzman said. “We’ve been working on that for

years, thinking about that since almost before we had an audience.”

TuneIn’s Rohling focused on the importance of voice-activated tools for using

Internet radio in the car. “It’s absolutely critical that [the user’s interaction with

Internet radio] be simple,” he said. “It’s not simple yet.”

Hanson set the stage for the discussion by looking back at the history of radio.

Radio has enjoyed a series of “golden eras” over time, he said. After the last

great era of the 1980s into the 1990s, the consolidation of broadcast radio

companies led to limited listener choices and related listener fatigue. But radio

is entering another golden age, he said, one marked by personalization, variety

(because of unlimited channel capacity), low spot loads (“great for the consumer,

great for advertisers”), and ubiquity (because consumers can listen on many

more types of devices in their home, on the street, at the office or in the car).

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sOunDeXChAnGe OnLIne ReGIsTRATIOn:new AnD IMpROveDIn early July, SoundExchange launched a new online registration system

designed to streamline the process for recording artists and record labels to

sign up and/or become a member with SoundExchange. The system includes

several new features that will enhance and increase the ease of registering with

SoundExchange, including:

• An Interactive Guide — designed to guide the registrant’s experience by

asking more focused questions that will result in better quality registrations

and ultimately, more accurate accounts in the SoundExchange database.

• Repertoire Claiming Tools — A majority of registrants will now be able to

claim their sound recording repertoire directly, with more accuracy, using the

tools provided in the online registration system.

• Ability to create multiple accounts — the process will now allow users to

easily create multiple accounts for artists at a given time, making it much

easier for an artist manager or band member to get everyone registered.

• Database Interaction — the new system will also import data directly into

SoundExchange’s current royalty administration system which will result in

efficiencies.

Make sure to check out the new system and if you have artist, comedian or rights

owner friends, pass along the link to the new registration!

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BACKsTAGe wITh JennIfeR pAIGeThough she may be best known for

her explosive hit “Crush” that was

released as the first single from her

debut album in 1998, Jennifer Paige

has certainly enjoyed long-term

success. In fact, her story, talent

and career prove just that.

Born in Marietta, Ga., Paige started

performing at the age of five. She

and her brother, a musician himself

and now a producer in Nashville,

Tenn. would perform as young

kids; a practice that continued as

they grew up.

The decision to make music her full time career was an easy one for Paige. Her

family was supportive and her parents gave her both advice and confidence as

she pursued her dreams. For Paige, a career in the music industry was not the

strangest choice she could have made. Her family was musical and her aunt had

previously worked in the business. Shortly after high school, Paige decided to go

on the road and make music her career.

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Paige attributes her early success to a combination of hard

work and determination, determination, luck and knowing

the right people. After a stint performing in Las Vegas,

Paige moved to Los Angeles where she made the

connections to the people who would produce her first

album. That album, which spawned the ever-popular

“Crush,” propelled Paige into superstardom.

Now living in Nashville, Paige is beginning work on a

new solo album (she just returned from England where

she was working with acclaimed producer Eliot Kennedy). She is also spending

her time finishing up a brand new project with singer/songwriter Coury Palermo.

After meeting in 2008, Paige and Palermo began writing songs together. What

began as writing sessions in their spare time soon took the shape as a band the

two now call “The Fury.” The name came about when Paige and Palermo were

talking about how overwhelming life can be. They wanted their music to help

calm and bring a sense of peace to the chaotic life.

The Fury is Paige’s first indie project: “The Fury has been great for my personal

relationship with music. It helped reinvigorate my creativity and we’re looking

forward to releasing our first album sometime this fall.” She describes the music

as “organic pop” and as far as you can get from self-indulgent. According to

Paige, together the duo’s voices “blend like family.” Following the release of their

debut album, Paige and Palermo hope to get their songs featured in film and

television and plan to spend time on the road promoting their music.

The Fury has been great for my personal relationship

with music. It helped reinvigorate my creativity and we’re looking forward to releasing our first

album sometime this fall.

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With the album release coming soon, Paige and Palermo will be able to use

the sprawling digital landscape to spread their music in a fashion that was not

available when Paige released her first album in 1998. She says that the digital

revolution, while overwhelming with the sheer number of digital services now

available to consumers, has ultimately changed the game. “There are more

opportunities for new fans to stumble across both new and old music, and the

possibilities for what can be done with music are endless,” said Paige.

Paige also notes the importance of SoundExchange within the continued growth

of the digital landscape and digital music. With her royalty check, Paige was able

to fund the tail end of the forthcoming album and obtain the proper mixes to

help complete the release.

As many independent artists do, Paige has taken her royalties and invested them

in the best place possible: herself. Far removed from her early days in Vegas,

Paige is now betting on herself and her music. This is one gamble that is likely

to pay off.

For more on Jennifer Paige, visit her website. And for more on The Fury,

click here.

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JunIOR’s MusT hAve GeARJeff “Junior” Bryce is director of Data Management for SoundExchange and a

musician in the Washington D.C. area.

As a musician, Junior has a keen eye for music equipment. He’s picked out his

favorites and shares his “must haves” with you here, exclusively in Soundbyte.

Guitar – Martin D28 The Martin D28 is the classic Dreadnought-style

guitar that is a standard axe for Americana, notably

Bluegrass and Country. It has been in production

for several decades, and is known for its enormous

sound, resonant bass and consistent intonation.

Songwriters influenced by the likes of Hank Williams,

Sr., might enjoy composing on this instrument.

Jimmy Page has been known to strum one and Dierks

Bentley plays the D-28 (similar to his new custom

signature artist series Martin HD). The current

edition has optional electronics, which some players

consider to be sacrilegious, though it’s there if you prefer it to miking. While it’s

an investment at $2,000, it should be in the arsenal of any acoustic guitar player

looking for a serious American sound.

http://www.martinguitar.com/component/k2/item/204-d-28.html?Itemid=6

Jeff “Junior” Bryce is director

of Data Management for

SoundExchange, where he heads

up an effort to ensure artists,

labels and rights holders receive

payment for their work – even

when the data for a specific

song or album was reported

inaccurately to SoundExchange.

He is a graduate of the University

of Maryland with a degree in

music education. Junior has

played saxophone with a number

of rock and jazz bands including

Blue Miracle, All Mighty Senators

and Jarflys, and has toured

nationwide. He continues to play

in the Washington, D.C. area.

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Guitar Pedal – Line 6 DL4This is an item guitarists interested in

digital delay effects should consider.

This guitar pedal enables guitar players

to incorporate both vintage and new-age sounds into their music. The DL4 also

contains onboard Tap Tempo control and brief sample looping. Players needing

additional control and flexibility might want to add on an extra expression

pedal, but most players will find that it works well as a stand-alone device.

Choosey shoppers might prefer the less expensive Boss DD-20, which has similar

adjustable delay features. The DD-20 has the classic Boss stompbox design, and

is known for its sturdy, road-worthy construction. http://line6.com/dl4/

Keyboard Synthesizer – Minimoog VoyagerHere’s a device with an endless array

of applications. It’s a 44-key analog

synthesizer with Moog’s Touch-

Surface controller design, and includes

authentic retro-psychedelic sounds

from ‘70s Progressive Rock and Funk.

It includes modern amenities you’d

expect, such as MIDI support and a USB port, and a rack-mountable trim. A

hugely flexible and popular instrument, it has won numerous editorial awards

since its first deployment 10 years ago. It’s known for its massively tweakable

functionality and iconic Moog style, making its way onto recordings by Moby

and Deadmau5, among many others. http://www.moogmusic.com/products/

minimoog-voyagers/minimoog-voyager-electric-blue-edition

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Compressor – PSP Vintage Warmer2The PSP Vintage Warmer2 compressor is a popular application for consolidating

and compressing drum sounds into dance music. Dance beat makers use it to

give the drums extra power and snap, and can be used as part of a Skrillex-

like sound if you are so inclined. The amount of compression to use is always

a matter of taste, and a source of much discussion, but when you need to

compress, the Vintage Warmer2 is a great option. http://www.pspaudioware.

com/plugins/dynamic_processors/psp_vintagewarmer2/

Loop Stations – Boss RC 300 Loop StationTo loop, or not to loop? Some players cast a side eye upon the phenomenon,

where live musicians run loops during performances to add missing elements,

such as a bass or drums, meaning fewer mouths to feed and fewer gigs for the

overdubbed instrument. Other performers apply loops to explore a variety of

sonic possibilities, either solo or within an ensemble, and use the technique to

add to the player’s harmonic and rhythmic palette. In the right hands, or feet,

loops can add beauty and flexibility to a performance. And either way, players

often like to use loop stations in the woodshed, for drilling song sections or

tightening timing. The Boss RC 300 Loop Station is a useful looping tool that

supports three independent stereo tracks, and .WAV file input and export, with

presets and auxiliary input for sampling. It comes complete with phantom power

for acoustic instruments, such as horns and voices, and has a handy auto-record

feature for when you don’t have enough limbs to operate your machinery.

http://www.bossus.com/gear/productdetails.php?ProductId=1182

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fALL MusIC fesTIvALsTis’ the Season: Fall is Music Festival Time!

One of the best things about

fall for music lovers are outdoor

music festivals. There’s nothing like

gathering with like-hearted music

aficionados and spending an entire

day, or two or three reveling with the

cool fall breeze just to be quenched

by the sound of your favorite artist

or band. So go ahead, grab a backpack, a light sweater and water, and travel across

the U.S. to find out what the fall music festival experience is all about!

Fall Music FestsDeluna Fest 2012Where: pensacola Beach, fla.

When: September 21–23

The headliners: Pearl Jam, Foo Fighters, Florence + the Machine, Band of Horses,

Ben Folds Five, Guided by Voices, Dwight Yoakam, Fishbone, Joan Jett and the

Blackhearts, Superchunk

Atlanta’s Music Midtown FestivalWhere: Atlanta, Ga.

When: September 21–22

The headliners: Pearl Jam, Foo Fighters, Florence + the Machine, T.I. The AVETT

Brothers, Ludacris, Van Hunt

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iHeart Radio Music Festival Where: Las Vegas, NV.

When: September 21–22

The headliners: Taylor Swift, Aerosmith, Rihanna, Usher, Bon Jovi, Lil Wayne,

Green Day, Swedish House Mafia, No Doubt, Brad Paisley, Pitbull, Deadmau5,

Miranda Lambert, Enrique Inglesias, Linkin Park, Jason Aldean, P!NK, Mary J.

Blige, Calvin Harris, Shakira

Virgin Mobile FreeFestWhere: Columbia, MD.

When: October 6

The headliners: TBA

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Fall Music Festival Survival Guide: What to Pack1. Backpack: To carry all of your supplies around, comfortably.

2. Water: To stay hydrated in the hot sun.

3. Sunscreen: To protect your skin from being under the sun for 8+ hours if heading south.

4. Sweater: To stay warm on chilly fall nights.

5. Cash: Vendors usually prefer this method of payment.

6. Camera: To capture those monumental moments.

7. Blanket or Chairs: So you can take chill breaks and not be on your feet the entire time.

8. Sunglasses: To protect your eyes from the sun and also to heighten your coolness factor.

9. Comfortable Shoes: You’ll be on your feet ALL DAY and will enjoy yourself

more if you were comfortable.

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Austin City LimitsWhere: Austin, TX.

When: October 12–14

The headliners: Red Hot Chili Peppers, Neil Young and Crazy Horse, The Black

Keys, Jack White, Florence + The Machine, The Avett Brothers, Iggy & The

Stooges, AVICII, BASSNECTAR, The Roots

Treasure Island Music FestivalWhere: San Francisco, CA.

When: October 13–14

The headliners: Girl Talk, M83, The XX, The War On Drugs, Dirty Ghosts,

Public Enemy

The Voodoo ExperienceWhere: New Orleans, La.

When: October 26–28

The headliners: Green Day, Neil Young & Crazy Horse, Skrillex, Justice,

Tomahawk, Bootsy Collins

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feATuReD COnfeRenCeDriven Music ConferenceContinuing the success of last year’s Driven Music Conference in Atlanta,

the event will return to Twelve Hotel Atlantic Station in Atlanta, Ga. from

October 5-7, 2012.

Featured Panelists include:

• Atlantic Records VP of A&R, Steve “Stevo” Robertson

• Warner /Chappell Music A&R, Marc Wilson

• NBC TV’s The Voice Talent Producer, Peter Cohen

• Alternative Press and AP Tour CEO & Founder, Mike Shea

Artists of all genres: Submit now by visiting www.drivenatlanta.com for your

chance to be selected as a Showcase Performer! Receive one free Panel Pass,

just for submitting!

Vendor / Sponsors: Visit www.drivenatlanta.com to email us or chat with us

live about showcasing your product, service or brand for the industry at the

conference. Among others, our current sponsors and partners include Atlantic

Records, Warner/Chappel Music, NBC TV’s The Voice, Alternative Press, SESAC,

NARIP, ReverbNation, The Recording Academy.

Questions? Email or chat live at: www.drivenatlanta.com

Discount code for SoundExchange members: se10off to save $10 off your order

Way to go, Driven Music Conference!~Atlantic Records VP of A&R,

Steve “Stevo” Robertson

Seriously... Amazing!

~Alternative Press and AP Tour CEO & Founder, Mike Shea

www.soundexchange.comSeptember 7, 2012Vol 1 Issue 2

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sX evenTs CALenDAR

RAIN Summit DallasDallas, TexasSeptember 18, 2012Colin Rushing, General Counsel, on “Music Licensing Roundtable” panel

World of Bluegrass Week (WoB)Nashville, TennesseeSeptember 24–30Bryan Calhoun on “Face-to-Face with the PROs” panel

Digital Music Forum: WestLos Angeles, CaliforniaOctober 3–4Discount code for SoundExchange members: SX15 for 15% off registration

Driven Music ConferenceAtlanta, GeorgiaOctober 5–7Discount code for SoundExchange members: se10off to save $10 off your order

San Francisco MusicTech Summit XISan Francisco, CaliforniaOctober 9Discount code for SoundExchange members: SX

Race for a Cause 8KArlington, VirginiaOctober 14

CMJ2012New York, New YorkOctober 16–20Discount code for SoundExchange Members: CMJSX12

The Entertainment and Sports Law Section of the State Bar of Texas (TESLAW) 22nd Annual Entertainment Law InstituteAustin, TexasOctober 25–26Brad Prendergast, Senior Counsel, on “Royalty Revenue from Digital Distribution of Music and Sound Recordings” panel

National Student Electronic Media ConventionAtlanta, GeorgiaOctober 25–27Travis Ploeger, Manager of Licensing and Enforcement, on “Webcasting and Broadcast Royalties for Radio/Web Stations” panel