As a result of the acquisition, the new MAM BMAT is now offering a wide array of additional services, including global performance royalty administration for music, music performance monitoring and market analysis reporting.
Regarding the formation of MAM BMAT, Nan Wilson said, “This merger is a game-changer in maximizing performance royalty revenues around the world. By joining forces, we can now meld MAM’s longstanding relationships and expertise with BMAT’s pristine technology.” Adds Pedro Cano, “We are delighted to join forces with MAM. BMAT’s authoritative and comprehensive music usage data is the standard for more than 100 PRO and major industry players. MAM adds the expertise, wisdom and loving care to monetize this data. MAM is a critical addition to the Music OS, bringing not only the performance royalty collection in the TV ads but also a 20-year-plus relationship with composers, music houses, publishers and libraries.”
MAM BMAT will present the “Future of Sync Music Royalties” panel at the Production Music Conference 2022
The new MAM BMAT company will have a strong presence during the upcoming 2022 Production Music Conference that is taking place on September 21-23 at the Omni Hotel in Downtown Los Angeles.
On Friday, the 23rd of September at 12:30 pm, MAM BMAT will present a panel entitled “Baby Got Backend – The Future of Sync Music Royalties” that will feature Nan Wilson as moderator and guest speakers – Connor Marks, VP, Publishing, APM, Serona Elton, Head of Educational Partnerships, The Mechanical Licensing Collective – The MLC – and Randy Wachtler, President of 11OneMusic.
The panel will address the future of production music backend income streams, covering all processes after the sync fee. We’ll also dive into the following topics –
• Performance royalty trends – platforms, usage types, growth, collections.
• What are opportunities for PL mechanical royalties? How do they collect them?
• What are opportunities for PL digital royalties? How do they collect them?
• Are there PL opportunities for AdRevenue share? On what platforms? How do they collect them?
• What is the future of making money in VOD for production libraries?
• How to find blanket licensed songs usages and unlicensed usages?
• Production Music – should it be distributed?
• Updating metadata across all collecting societies?
• Is there backend money when you license to a video game?
• Performance and mechanical royalties for libraries in online ads, podcasts, and general entertainment on YouTube.
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