Name: 音楽アーティストが報酬を得るための小型プラグイン・デバイス (The small, plug-in device helping music artists get paid)
Uploaded: 2025-08-08T18:20:18.000Z
Duration: 6 min 13 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

So this is the audio meter, all kind of built into a single unit with the microphones on the front which capture all the audio reflections, nice plug on the back.

これがオーディオ・メーターで、前面にマイクがあり、反射した音声をキャッチします。

We have an eSIM built onto our board which means that all of the music that we're monitoring and the data that we're collecting, that we can send that straight to our cloud without touching anybody else's network, keep it secure.

私たちはeSIMをボードに内蔵しており、モニタリングしている音楽と収集しているデータはすべて、他の誰のネットワークにも触れることなく、私たちのクラウドに直接送信することができ、セキュアに保つことができる。

This is in everything from gyms to retail locations, cafes, we're in schools, we're in nurseries, you name it, anywhere that you hear music out and about we are there.

ジムから小売店、カフェ、学校、保育園など、音楽を聴く場所ならどこにでも私たちはいます。

Musician turned tech entrepreneur Ryan Edwards founded Ordu in 2018 with a mission to ensure artists receive due royalties when their music is played in commercial locations and the inspiration came from a personal place.

ミュージシャンから技術起業家に転身したライアン・エドワーズは、彼らの音楽が商業的な場所で演奏されたときにアーティストが正当な使用料を受け取れるようにすることを使命として、2018年にOrduを設立した。

I signed a record deal when I was 19, it wasn't meant to be, we put one single out and then I spent the last 20 years in technology businesses, so data, worked in financial services tech, worked in app development and a few years ago had one of my songs playing in a very popular department store in London and actually just was really intrigued to go how do they know, how does the rights organisation know that my music was just played there and what I found you know through just very very light googling was that this was a huge problem with inaccuracy and it just needed solving so kind of my entire life came together then from being an artist and struggling to make a living to being a technologist that solves problems and going okay let's bring this all together.

19歳のときにレコード契約を結び、シングル1枚を出したのですが、うまくいかず、それから20年間テクノロジービジネスに携わりました。データ、金融サービスの技術、アプリ開発、そして数年前、ロンドンの超人気デパートで私の曲が流れました、そして、ごく軽くググって見つけたのは、不正確さという大きな問題があり、それを解決する必要があるということだった。

I built a very very basic prototype at my kitchen table so I went okay how can I recognize music and started building in kind of algorithms and playing with everything and from there had kind of a working prototype with that I then went and took it to a few people in the music industry literally reached out to them on LinkedIn and said look I think I've got something that will solve your problem they all got very very excited and then suddenly realised okay maybe this is the moment that we turn this into a business and off I went.

キッチンのテーブルで、とても基本的なプロトタイプを作ったんだ。どうすれば音楽を認識できるかを考え、アルゴリズムのようなものを組み込んで、あらゆるものをいじり始めた。

The people were taking manual surveys so somebody would literally sit there with a clipboard and write down what was happening they were looking at radio data so samples and trying to understand and essentially coming up with analysis to say we think this is what would be happening in the real world where we've bought a new level of accuracy to each and every premises that we're in.

つまり、誰かが文字通りクリップボードを持ってそこに座り、何が起きているかを書き留めるのだ。彼らは無線データ、つまりサンプルを見て、理解しようとし、本質的に、私たちがいる各敷地内に新しいレベルの精度を導入した現実の世界で起きていることはこういうことだろうという分析を導き出すのだ。

A number of legendary musicians have invested in Ordu including Sir Elton John and through his investment company Sir Paul McCartney.

エルトン・ジョン卿や自身の投資会社を通じてポール・マッカートニー卿など、多くの伝説的ミュージシャンがオルドゥに投資している。

The investment journey for us like any startup has been constant over the past five years raised nearly 18 million pounds into the business and then when we raised what we call our series ABBA round that was backed by a single-family office so that was five and a half million pounds and the reason we call it series ABBA is because Bjorn Orveas from ABBA also invested in that round as well so originally it was the series A but now we call it the series ABBA.

シリーズABBAと呼んでいるのは、ABBAのビョルン・オルベアスもこのラウンドに投資したからで、もともとはシリーズAだったが、今ではシリーズABBAと呼んでいる。

I always remember the first conversation with Bjorn and and he said to me said look I'd have killed for this data when I was a young artist he said it's really important and then the second thing he said was and also I don't want to be paid for something that I didn't do and I didn't achieve he said I think everybody should be paid correctly as well so do I I think exactly the same as that.

ビョルンとの最初の会話をいつも覚えているんだけど、彼は僕にこう言ったんだ。僕が若いアーティストだった頃、このデータのためなら死んでもいいと思った。

In addition to helping artists receive their royalties Ordu's devices are providing some rather interesting data.

アーティストが印税を受け取るのを助けるだけでなく、オルドゥの機器はかなり興味深いデータを提供している。

In 2024 the most frequently played song and pubs globally was Brown Eyed Girl by Van Morrison, Give Me Love by Sia was the most popular song and florists and Don't Dream It's Over by None Other Than Crowded House was the most played song in hotels.

2024年、世界のパブで最も頻繁に流れた曲はヴァン・モリソンの「Brown Eyed Girl」、花屋で最も流れた曲はシーアの「Give Me Love」、ホテルで最も流れた曲はノー・アザー・ザン・クラウデッド・ハウスの「Don't Dream It's Over」だった。

The analyst behind these insights is Hash Riaz.

これらの洞察の背後にいるアナリストはハッシュ・リアズである。

We can look at the geographical location of a premises and we can start to group play data by geography we can look at individual premises themselves and I think one of the most interesting parts is looking at industry sector type so grouping premises into fitness or food and drink retail there's a lot of music data out there with the typical signals such as streaming or chart data or radio airplay but there's not really anything that shows you how music's being consumed in the commercial sector and that's what I'm excited about.

最も興味深いのは、業種別に見ることだと思います。フィットネスや飲食料品小売業といった業種別に見るのです。ストリーミングやチャートデータ、ラジオでのオンエアといった典型的なシグナルを持つ音楽データはたくさんありますが、商業部門で音楽がどのように消費されているかを示すものはありません。

We also track obviously the volume of music that individual premises are consuming as well and we can look at live music venues, retail, pubs, clubs and bars and we go a lot further to split retail into clothing stores etc etc so we've done that in a way that as the data comes in after fact we can cut it and slice it in many different ways to suit many different potential partners or buyers.

さらに、ライブハウス、小売店、パブ、クラブ、バー、さらに小売店を衣料品店などに分けることもできる。

The key thing for us is we started with data to ensure people getting paid correctly what we're starting to evolve now and that we're getting requests almost on a daily basis is from artists management teams, booking agents, record labels who are saying look you have all this wealth of data it's great that we're being paid on it but now how can we use that for better intelligence so you know we're looking at artists and saying okay look you want to go and tour Australia you know what you do really really well in Melbourne so you know you should probably do two nights there but weirdly Sydney's just not playing you or Adelaide is missing you so kind of skip it you know don't put on the venue don't worry about only selling 50% of tickets be really really tactical how you do that so we see that as really really valuable kind of insight in what they're doing and then actually the kind of the second side is you know when they've got a new release how's it tracking you know how's it doing versus their last release is it all working well you know is it because you've changed your sound you need to go back to your roots you need to stick with what you want to do because you're as an artist etc is there new audiences and then the final bit really is commercialization so it's really about using the data to make it actionable so the artists can go out and go okay for my business as a whole how and where do I want to use this you sponsored by

私たちにとって重要なことは、人々が正しく報酬を得ていることを確認するためにデータから始めたということです、レコード会社からは、「これだけ豊富なデータがあるんだから、それで報酬が支払われるのは素晴らしいことだ。でも変な話、シドニーはあなたの公演をやらないし、アデレードはあなたの公演をやらない。そしてもうひとつは、彼らが新作をリリースしたときに、前作と比較してどのような状況なのか、うまくいっているのか、サウンドが変わったからなのか、原点に立ち返る必要があるのか、自分のやりたいことを貫く必要があるのか、というこ