More:

• EK on DRM: Its a very small piece of a very large problem. I don’t think that the removal of it will make a difference with respect to revenue at EMI. The larger problem is that people have a free alternative and there’s no way around that, including DRM. The issues around how artists are compensated around the value chain, towards and through agnostic devices. I don’t have the answer to it, but its something we’re trying to deal with.
• MM on DRM: DRM is like the war on drugs. Things are moving so fast that it makes no sense to try and enforce DRM.
• EK on DRM again: The removal of one thing won’t improve the condition of another — DRM as it is a reactionary behaviour towards consumer behaviour? Is it fair to the consumer? Not really — but its a similar answer to what software industry has right now. I don’t know if DRM is the future of protecting content. As a consumer I’d love it removed. With respect to artists getting paid … I would love to sell music on any device.
• AM on DRM: We’re trying to give away the content in every format possible (with my own podcast Command N). We don’t make a ton of money, but if we give away content, it’ll be up to you to develop revenue and it’ll be easier to do that. I’m working at CityTV, but in the future I will probably go out on my own, and Command N currently has a better viewership than most mainstream podcasts
• “Mclean — how are you going to remonetize copyright?”
  • MM: There are lots of ways to do this, for example crowdsourcing and so on. We give artists a way to monetize their own music, whether it be pre-roll ads on video, watermarks, as well as product placement. I think media companies have to be creative ways to monetize these media formats — and I think its good to shake off that sense of complacency that’s been in the industry for so long
• “What *ELSE* is the future of entertainment?”
  • EK: Gaming is something that has a future as a multifaceted thing for content creators, extending into music and movies. We are trying to remove ourselves from the music and attaching ourselves to brands, whether it be ringtones, websites, and access — rather than just selling music. Engaging the consumer to create content they feel has value, and if they have monetary value in there perhaps that’s important and that has value. The file (of music) represents something greater that means the mode of experience — the iPod, the TV and so on … we need to focus on what these files represent.
  • MM: We are at the beginning of a mast shift in entertainment to make things a richer more immersive experience
• “When will the audience who recommends stuff be recognized into the value chain?”
  • EK: There is a lot of discussion around — DRM focuses on Machine to human –but there’s been talk about moving that back between recognizing the packets as they move through the ether. There should be and could be a way of creating economy around the consumption AND sharing of music. We need to track performance so that things could be paid properly. It’ll be important to think creatively when it comes to technology
• “In other countries you can’t even get original works even if you wanted to — what’s the flipside of developing that kind of content, and what happens when corporations start funding the art?”
• “How many people will have switched over to things like Joost?”
• “How do you think it would be if 80% went into the Internet and 20% into broadcast television — would there be a DRM problem still?”
  • EK: It doesn’t require a rocket scientist to create the tools for social networks around artists. It does create a social brand around the artist. We’re trying to do something smart, like the Grateful Dead. We’re trying to be smart, decisive, and forward thinking rather than reactive.
  • MM: We want to be able to monetize our artists in all kinds of ways, such as product placement, ringtones and all kinds of things. Monetizing emerging platforms is a challenge for everyone, and its more than just selling songs.