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eMusic search trends in Google
The eMusic tokens being sold as part of the Token Sale are a functional part of the blockchain-driven
music distribution platform described herein. The eMusic tokens are neither designed nor expected
by us to increase in value over time. eMusic tokens are not intended by eMusic to be an “investment
opportunity” of any kind and should not be perceived as one by purchaser. They are not intended to be
treated as a “security” in any jurisdiction and, by purchasing tokens, you acknowledge this position.
Instead, eMusic tokens are simply software - computer code that you will store in electronic format
and which will allow token purchasers to interact with and to take advantage of the many features
that will be part of our new platform. eMusic tokens are part of our product - one which we are very
proud of. By purchasing eMusic tokens, you will become part of our community and will be able
to interact with others around the world who we hope will be using our platform. We ask that you
A Message from our CEO
Mission & Goals
Industry Key Terms & Definitions
An Imbalanced Music Industry
eMusic Steps up its Role in the Industry 12
The eMusic Token Sale & Economics
Legal & Accounting
Token Purchase Considerations
A Message from our CEO
eMusic launched in 1998 as the first legal, digital music store. During our long
tenure, we’ve seen a LOT of change and faced a lot of challenges, but our core
mission has been consistent: we aim to provide music fans with access to the
best independent music at the best prices AND support the artists who create it.
eMusic - a fair-pay platform - is increasingly an outlier. Advancements in digital
and streaming technology may have helped rescue the music industry but the
corresponding commoditization of music by a few centralized players is a point
of major concern.
Why is it that I can stream hours and hours of music, but in doing so I’m hurting
the musicians I love because they’re getting paid pennies on the dollar for each
stream? Or that profit-driven algorithms deliver playlists and recommendations
full of great music, but it only comes from a handful of labels?
So many of our great members tell us how they find eMusic to be as close an
experience as ...
Mission & Goals
the time of creation until it’s heard by the
first fans, today’s supply chain for music is
full of blockers, middlemen, and inefficiencies.
“Our mission is to rebuild the music distribution
infrastructure from the inside out to achieve
balance in supply and rewards flowing between
fans, artists and the platforms that serve them”.
We will begin by giving eMusic members first access to the benefits that a decentralized,
blockchain-drive music distribution platform provides before extending those benefits to
the larger music industry.
Our project will result in:
A brand new feature set and rewards program for eMusic members.
A fully transparent music publishing system that can be used by any producer,
creator or provider of music - from unencumbered/DIY individual artists right up to
major labels with 1,000s of artists on their roster.
A platform that transforms efficiency and automation into reven...
1998, eMusic has been a cornerstone of indie-focused music discovery and
digital downloads, serving 47 million music fans in countries around the world
and building tens of thousands of indie label relationships.
As a champion of independent artists and the fans that love them, we’ve been a part of
personal music journeys for millions of members across the world, expanding access and
reach through a combination of unexpected discovery, connections to relevant artists
and affordable prices.
eMusic, the very first mp3 download site begins selling downloads by
subscription in 1998, 5 years before iTunes.
Hits 100 Million MP3 downloads.
Hits 250 million mp3 downloads, second only to iTunes.
Begins to carry major-label content.
Exits mainstream music business and returns to roots as an indie outlet.
Launches cloud-enabled download storage and management system.
Industry Key Terms &
document will discuss the infrastructure of
today’s music industry, as well as outline
eMusic’s vision of a re-shaped industry. The discussion
will center around a number of key terms, the definitions
of which we have listed below.
Using a shorthand here for any musician or group of musicians
who create a piece of music. May include songwriters, composers
A song, album, EP or other format music release that is intended to
become available for purchase, streaming or licensing.
Administrative representative of an artist and/or music asset.
Responsible for production and release-cycle promotion of a music
asset. Often own master recording copyright of music assets.
Responsible for ensuring royalty payments for songwriters and
as music consumers are listening to more
music than ever before—on our commute,
at the gym, while we work, in bars and restaurants. We
use our earbuds, our phones, our bluetooth speakers,
our AI connected homes, our smart-watched wrists…
music now occupies a larger place in our everyday lives
than ever. A person in the US listened to an average of
32.1hrs of music per week in 2017, which is nearly eight
hours more per week than just two years ago.
Fig.1 — US Music Market Share
The world is streaming
Streaming now dominates download and physical sales, accounting for 62% of US music
revenue in 2017, a staggering 47% rise since 2012 when it accounted for only 15%.
other countries, streaming’s dominance is even more pronounced, with Sweden perhaps
leading the way, where an incredible 82% of music was streamed last year.
streaming is here to stay. ...
But there’s a problem
In a BBC3 video that recently went viral, Liam Gallagher laments that he is forced to make
his own herbal tea backstage at one of his recent shows because “no one buys records
anymore.” The monologue, delivered in Gallagher’s
typical expletive-laden Manchester brogue is
equal parts comical and poignant. Speaking of his
tea and the preparation thereof, the rock and roll
Estimated number of streaming
plays needed to earn
star goes on to complain that “...in the 90s I used
to have about 4 people doing it.”
(National minimum wage)
As Mr Gallagher suggests, there once was a time
when a hit record meant a wealth of riches for all
parties involved in its creation, or at the very least,
a decent living. This is increasingly not the case
as habits of music consumption drift ever further
towards fully digital all-you-can-eat experiences
that leave working artists finding it difficult to
make ends meet.