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Hadopi: 7 millions d'euros de budget en 2013 pour 3 millions d'e-mails envoyés depuis 2010 - FrenchWeb.fr

Hadopi: 7 millions d'euros de budget en 2013 pour 3 millions d'e-mails envoyés depuis 2010 - FrenchWeb.fr | Kill The Record Industry | Scoop.it

€ 7MEn 2012, Aurélie Filippetti avait estimé que « 12 millions d’euros annuels et 60 agents, c’est cher pour envoyer un million d’e-mails ». Résultat, le budget de l’Hadopi, la haute autorité pour diffusion œuvres protection droits internet, ne cesse de diminuer depuis deux ans. Celui-ci est passé de 12 millions d’euros en 2012, à 7 millions d’euros en 2013, soit 1 million de moins que les 8 millions d’euros initialement prévus selon BFM Business.

Pierre Priot's insight:

French government spent €7M on the useless Hadopi last year.
If you're still wondering what stopped piracy in France, it's nothing but Deezer.

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Universal Publishing and SACEM sign global licensing agreement with YouTube

Universal Publishing and SACEM sign global licensing agreement with YouTube | Kill The Record Industry | Scoop.it
SACEM "proud to be the first authors' society to have signed an agreement of this scale" says CEO
Pierre Priot's insight:

"proper remuneration" hasn't been disclosed yet...

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French Music Market Continues Decline

French Music Market Continues Decline | Kill The Record Industry | Scoop.it

The French wholesale music market dropped 4.4% to 589.7 million in 2012, according to initial figures released by record label trade body SNEP during last week's MIDEM conference in Cannes, France.

Pierre Priot's insight:

Pascal Nègre blames it on piracy ; others blame it on Pascal Nègre.

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French 3 Strikes: Court Fines First File-Sharer, Even Though He’s Innocent | TorrentFreak

French 3 Strikes: Court Fines First File-Sharer, Even Though He’s Innocent | TorrentFreak | Kill The Record Industry | Scoop.it
It's been a long time coming but today the controversial French 'Hadopi' anti-piracy law has claimed its first scalp. After his account was connected to a series of previous infringements, a 40 year-old man was summoned to court today.
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France removes Internet cut-off threat from its anti-piracy law

France removes Internet cut-off threat from its anti-piracy law | Kill The Record Industry | Scoop.it
French digital minister says "it’s like cutting off someone’s water.”
Pierre Priot's insight:

So far Hadopi has been spending more money than it will ever recover from piracy.

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Digital Music News - One Little Problem With the Whole 'Streaming Saved Sweden' Thing...

Digital Music News - One Little Problem With the Whole 'Streaming Saved Sweden' Thing... | Kill The Record Industry | Scoop.it

If streaming saved Sweden from a precipitous sales oblivion, why isn't the same thing happening in other countries?  Here's one reason: streaming just isn't as big or important in other countries, and is less a percentage of broader digital consumption.  

Pierre Priot's insight:

If streaming is eating the download in Sweden + France, it fails to do so in bigger markets, leaving room for future US/worldwide players (such as iTunes Match).

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Hadopi : baisse de 20 % des avertissements en 2012

Hadopi : baisse de 20 % des avertissements en 2012 | Kill The Record Industry | Scoop.it
En 2012, la Hadopi a envoyé 613 271 e-mails aux abonnés à internet dont l'adresse IP a été repérée sur les réseaux P2P dans le cadre
Pierre Priot's insight:

french Hadopi three strikes procedures figures going down 20% [sorry, french speaking post]

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Are Streaming and Other Music Consumption Modes Substitutes or Complements? by Godefroy Dang Nguyen, Sylvain Dejean, François Moreau :: SSRN

Are Streaming and Other Music Consumption Modes Substitutes or Complements? by Godefroy Dang Nguyen, Sylvain Dejean, François Moreau :: SSRN | Kill The Record Industry | Scoop.it
From a representative survey of 2,000 French individuals, we study whether consumption of music through streaming services, such as Spotify or YouTube, is a substitute or a complement to other music consumption modes such as CD, pay-downloads or live music. Controlling for the taste for music, various socio-demographic characteristics, as well as for the usual determinants of music consumption either offline (radio, TV, friends/relatives) or online (online recommendations, social networks), our results show that consuming music as streams (where the consumer does not possess the music but has just an access to it) has no significant effect on CDs purchase but is a complement to buying music online. The use of streaming services also affects positively live music attendance, but only for national or international artists who are more likely to be available on streaming services. These results suggest that a new music ecosystem is emerging in which the “possession” as well as the “access” modes of recorded music consumption might coexist.
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