BTS，唯一一个现在买入未来三年内任何时间点看都是赚的币。

With the advent and then propulsive web-wide spread of MP3 file technology during the last twenty years*,  all of the music industry’s consumers, artists, recording companies, talent agents, business models,  distribution channels and intellectual property rights have been radically transformed. Today, the big money in the industry today is most often made by artists with established names who are able to draw audiences during their tours, sell merchandise, and continue to sell and stream music from their catalogs.
Of course, nowadays every well-known, moderately known and unknown act has an online presence to engage and inform their fan bases through an array of social media platforms and dedicated websites. Still, the music biz today is an even tougher business to earn a dollar than it ever was before. (See also the December 10, 2014 Subway Fold post entitled Is Big Data Calling and Calculating the Tune in Today’s Global Music Market?.)

In an effort to adapt dramatically new technology to energize, innovate and democratize the music industry, two recent startups, both still in their development stages, are using blockchain technology in previously unseen and imaginative ways. The blockchain is, in its simplest terms, a distributed, decentralized, transparent and encrypted database that acts as an online ledger to record transactions, documents and other information. It is most often used to memorialize transactions involving bitcoin. (See the May 8, 2015 Subway Fold post entitled Book Review of “The Age of Cryptocurrency” concerning a comprehensive new book on this subject.)

These early stage startups were the subject of a truly fascinating article posted on Billboard.com on August 5, 2015 entitled How ‘the Blockchain’ Could Actually Change the Music Industry by Gideon Gottfried. I will summarize, annotate and ask some unencrypted questions of my own.

I.  PeerTracks

The first startup is called PeerTracks. Their plan is to establish a music streaming and retail platform that includes “fan engagement and peer-to-peer talent discovery”, according to its president, Cedric Cobban.  They will use the blockchain for its transactions and paying artists directly for any revenue generated when their music is streamed “on a per-user-share basis”. Their launch is currently planned in about two months.

The core of their approach is to generate marketing revenue through the use of “artist tokens”. This is a system whereby each musical artist can create their own tokens with their name and image, and then set the permanently fixed amount of them to be made available. These tokens are intended to take on the characteristics of a “sub-cryptocurrency” (similar to some of Bitcoin’s characteristics), whereby the value that emerges for them is a direct indicator, based upon supply and demand, of the artist’s appeal. Site users can also speculate on the future value of the music and merchandise of currently unknown musicians.

The artists on PeerTracks will have the capabilities to affect the relative value of their own tokens. They will be enabled to buy back their tokens with any income they generate from “streams, sales, merch, tickets”. They can also permanently eliminate some tokens to decrease their supply and, in turn, increase their value.

Conversely, artists can affect demand by the types of items they offer to their token holders. Among other things, they can offer “discounts, free tickets, giveaways”. By providing incentives for fans to acquire their token, artists can raise the tokens’ relative values. As well, there are potential benefits to advertisers on PeerTracks interested in implementing paid sponsorships for more recognized music acts with product giveaways.

All songs uploaded on the site will be accompanied by a “smart contract“. According to the immediately preceding link to Wikipedia, smart contracts are “computer protocols that facilitate, verify, or enforce the negotiation or performance of a contract, or that obviate the need for a contractual clause”.  The smart contracts on PeerTracks divide up the funds generated accordingly among the parties involved in the song’s composition and performance. This is considered to be an important advance in using the blockchain and, it is hoped by developers currently working on this, will become a platform upon which new business models will emerge.

II.  Ujo

The second startup in this space is called Ujo. Their plan to use the blockchain to improve both the distribution of royalties to artists and music licensing. They intend to accomplish this by establishing a “rights and payment infrastructure”. It will be free to use and open for third parties to create their own apps for new services including, among others, curation, streaming and negotiation.  Similar to PeerTracks, they are working on an alternative means to distributing revenues to “artists and rights holders”. Furthermore, they are trying to build a blockchain-based means to determine ownership of creative works.

The prospective adoption of this by the music industry of this entirely new system is expected to take time because of its tendencies to keep data private as well its outdated and often incompatible systems. Phil Barry, who is involved Ujo along with about 20 other developers, hopes their new system will unify and replace the legacy systems. He believes the platform will provide economic advantages to artists and recording companies receiving their royalties through it. As well, this will provide “new revenue and business models”, new ways for consumers to enjoy music, and simplification to the manner in which “music is managed and licensed”.

When an artist creates a new song in the future, using Ujo it will be permanently stored on the blockchain and assigned a unique ID. If another artists or performers changes anything about the song, their subsequent versions will receive a new ID and be “instantly recognizable”. Any resulting revenue from the song will then be distributed immediately and “proportionately to each rights holder”.

如题。

党 儿童 已远去 青年将失守 愚人和妇女在前方。

咋办？


发自我的 iPad 版 Tapatalk

我有一个粉丱的想法 “如题”

去中心化交易所 nxt 很火啊 ， 去服务器化交易所bts 要加油啊


发自我的 iPad 版 Tapatalk

贡献带宽换取rmb的

不遵守pst协定

链接 https://jiaoyi.yunfan.com/index.php/transaction/index

-----------------一下转播---------------
  1、矿石的价格怎么来的？

       矿石的价格是由市场决定的，由供求关系决定的。其影响因素包括用户预期、互联网数据传输量的增长、国内国际带宽价格波动。

       买卖流量矿石可以简单比喻成买卖猪肉，当多人想吃肉，但是肉的产量低的时候，价格就会上升，反之下跌。


       2、谁是矿石需求方，为什么他们要购买？

       目前矿石回购的需求方主要是各大视频公司和技术公司，包括：优酷土豆、腾讯视频、搜狐视频、快播、各家网盘等大流量消耗单位。

       流量矿石系统收集用户闲散带宽，打包优化后分销给各家厂商的价格低于直接采购CDN的价格，并且将带宽质量做等级分配，保证可靠性，简单的说，低成本是各家厂商采购矿石的驱动力。

       这个消费群体是巨大的，优酷财报中显示一年的带宽费用高达十几亿元。快播公司近年来随着移动端用户的大幅增长，带宽成本也在提升，2013年将超过1.2亿元的带宽支出。因为有那么大的盘子，所以很好的说明了流量矿石系统的可行性。

 
       3、流量矿石如何交易？

       用户登录流量矿石交易系统，通过下单买卖的方式实现交易，操作类似虚拟股票游戏。

       如果你是一名普通用户，你将可以通过安装流量矿石客户端去挖取矿石 （下载挖矿软件），获得矿石大于1KG，将可以在交易系统出售。

       如果你是一名投资用户，你可以通过充值快币，在低价购入流量矿石，高价销售。


       4、挖矿机如何操作，需要什么配置，支持什么系统？

       挖矿机无需任何操作，挂机就可以自动完成整个挖矿工作。

       对配置无过高要求，一般PC即可参与挖矿。后续我们将开发移动版本，帮助你更省电的模式进行挖矿。

       目前发布的版本支持windows和linux，后续将支持android和ios、甚至mac。

 
       5、挖矿机的速度取决于什么因素？

       准确的说取决于你机器的CPU、内存和上传带宽，核心因素是上传带宽。

       我们将挖矿机按照上传速度定义了五个等级，分别为：

       锄头：<=100KB/s,生产1KG矿石大约需要4天

       铁铲：100-1000KB/s,约需要12小时

       挖矿机：1-20MB/s,约需要1小时

       爆破机：20-50MB/s,约需要15分钟

       淘金机器人：>50MB/s,小于50秒

 
       6、挖矿会影响我正常使用电脑么？

       挖矿机会占用上传速度，个别情况会影响你的操作。用户可以限制速度进行挖矿，比如说电信ADSL用户有52KB的上传速度，可以设置挖矿限速为30KB，保留20KB用于正常使用。

       ADSL是以年作为单位申请的，用户大部分时间在公司和睡觉，ADSL利用率是非常低的，建议用户可以在睡觉的时间进行挖矿，避免影响正常的工作，同时也可以提高ADSL的利用率，换个角度说，降低了申请ADSL的成本。

 
       7、流量矿石是否值得珍藏？

       随着价格的波动，低价买入的流量矿石在未来会增值而为用户赚钱。除了赚钱，拥有的流量矿石越多，代表着用户对整个网络社会的贡献越大，我们后期会推出排行榜，嘉奖有杰出贡献的用户。同时，我们还会推出流量矿石的理财计划，让珍藏的流量矿石“繁殖”而产生更多的流量矿石。