then you have the licensing entities themselves, ascap and bmi, for example, represent the song writers and publishers, but they have their own views about what the best form of licensing is. then you have the digital music services, and the digital music services are in very different positions because they often operate under different regulatory regimes. pandora, for example, is an, a non- interactive radio service which means it gets the benefit of a government compulsory license. we are required to make all of our music available to pandora as long as they pay a royalty rate that's set by the government. then you have satellite radio. they also get the benefit of government compulsory license except they operate under a different rate standard than pandora does. then you have spotify or apple music or audio and others, rhapsody. they operate this in the marketplace where their services are on demand. they're called an interactive music service so that you can pick what song you want to hear right now, and it will play that song or that album. but they have to negotiate in the marke

ascap and bmi represent the songwriters and publishers, that they have their own views about what the best form of licensing is. then you have the digital music services and they are in very different positions because they often operate under different regulatory regimes. pandora, for example, is a non-interactive radio service, which means that it gets the benefit of a government compulsory license. we are required to make all of our music available to pandora as long as they pay a royalty rate that is set by the government. then you have satellite radio. , they also get the benefit of that government compulsory license, except that they operate under a different rate standard than pandora does. then you have spotify or apple music or audio and others. they operate in the marketplace where their services are on demand, they are called an interactive music service, so that you can pick what song you want to hear, right now, and it will play that song or that album, but they have to negotiate in the marketplace with record companies. so, it is an entirely different licensing mechanism

are streaming, which is usually considered a public performance or do you only use aa license from ascap and bmi? well, we worked out a solution where we agreed on a combined royalty rate about the performance for ascap and bmi and for the mechanical and one all-inclusive right. we work that out because it was a practical solution to a legal and practical problem, and we proposed it to the royalty board, propose its of the office. office. they embodied in regulations commanded is now working. that is an example of finding a practical solution within the confines of the law but in a way that the 1909 legislation did not contemplate. we will continue to look for those kinds of solutions. >> a lot of the platform say that when you here an artist complaining they have low compensation, it's in large part because the labels of the publisher or songwriter or skimming off the top. sometimes hard to evaluate those claims because we can't see what the deal is look like. we know what sound exchange payments look like, but outside of that context would you agree more transparency is a gooda good th