Chapter 1 About

The music industry reports are created by Daniel Antal, CFA. LinkedIn Profile>>>

The CEEMID datasets are a by-product of extensive, quantitative consulting work in business strategy, strategic growth opportunities, pricing and asset valuation mainly carried out in the now-defunct consulting company Candole Partners. Candole Partners was acquired by a venture capital firm in an acqui-hire after the retirement of the founding partners. In our work, we were always responsible for data procurement and analysis, but in the emerging markets of Europe such data was usually not available. Candole Partners had set up various in-house data collection schemes, some of which was available via the data vendor Thomson-Reuters, but never as a stand-alone data product.

CEEMID incorporates 20 years of consulting and public policy experience of Daniel Antal, CFA.

  • Experience as a head of Hungary’s national economics statistics programme in the collection of data and the creation official statistics, and a deep understanding of national accounts allows custom data collection, data combinations of official data collections to create national statistics that are not existing or currently not available.
  • Experinence in investments, strategic growth opportunities and pricing allows a professional collection, compilation of corporate accounts data that are carefully combined into various KPIs, marketing or strategic indicators.
  • Experience in international projects and environments, and understanding the issues and problems with international data comparison and data collection in multiple languages.
  • Experience in tariff setting, antitrust cases and public policy cases in the music, film and broader audiovisual industry is incorporated in the making of practical, valuable indicators that can be used in litiation, public advocacy and other tariff setting or dispute resolution scenarios.

1.1 History of CEEMID and use cases

The current state of CEEMID is a fruit of international work that started in Hungary.

In the CISAC Good Governance Seminar for European Societies in 2013. In the seminar, some case studies were presented on how Artisjus, the region’s largest author society, managed to modernize its HORECA tariffs and substantially increase its private copy remuneration (Antal 2013). In the HORECA secotor, Artisjus manages a one-stop-shop licensing for Hungarian author’s, producers (represented by Mahasz) and performers (represented by EJI).

In 2014 three societies, SOZA, Artisjus and HDS realized that need to make further efforts to modernize the way they measure their own economic impact, the economic value of their licenses in order to remain competitive in advocating the interests vis-à-vis domestic governments, international organizations like CISAC and GESAC and the European Union. They signed a Memorandum of Understanding with their consultant to set up the CEEMID databases and to harmonize their efforts (Artisjus et al. 2014).

The fruit of this cooperation was the first national music industry report in the region, A Proart zeneipari jelentése [The Music Industry Report of ProArt] (Dániel Antal 2015a). ProArt is an umbrella organization of Artisjus, Mahasz and EJI that coordinates the three sister societies public advocacy and occasionally their tariffing efforts and the start of the Central European Music Industry Database (CEEMID). CEEMID has public and restricted databases for various users or user-groups, including the three original author societies. Apart from harmonizing data from the participating societies, CEEMID also harvests public data from Eurostat, the de Thuiskopie reports, IFPI’s Global Music Industry Report(IFPI 2017), and various other sources. Furthermore, a standardized data collection is applied on the basis of Eurostat’s cultural statistical recommendations.

In 2015 two standard Cultural Access and Participation surveys were carried out. In Hungary by TNS-Hoffmann for Artisjus and the National Film Fund, and in Slovakia by United Consultants and Focus, in part of their broader survey carried out for SOZA. Furthermore, three music industry professional surveys were carried out: the Hungarian Musician Survey in 2014 and 2015, and the Slovak Musician Survey in 2015.

In 2015 a Slovak Music Industry report was prepared that was not published for certain reasons, however, the calculations and findings were successfully used in lobbying for a better private copying regulation in Slovakia and some discussions in the implementation of national radio quotas. An important limitation in this work was the fact that Štatistický úrad Slovenskej republiky had much less developed open statistics than the Hungarian Central Statistical Office or the Czech Statistical Office, or the more developed Western countries, especially the Netherlands, which had been a pioneer and an eventual standard-setter in the EU in measuring digital cultural participation.

The findings of these work were presented in the 40th anniversary scientific conference of Eurobarometer, and important pan-European statistical and policy cooperation which measures cultural access and participation in all EU member states and candidate states. The efforts made in the spirit of the Memorandum of Understanding, including the harmonized data collection between the first Hungarian and Slovak report were exhibited as an example of best new statistical practice (Dániel Antal 2015b).

Still in 2015, the new Hungarian popular music granting scheme Cseh Tamás Program briefly joined the CEEMID initiative and commissioned a study to prepare granting proposals that meet the needs of musicians and can contribute to grants that can in the long run enhance the royalty earning capacity of Hungarian artists. A regional symposium was held in Budapest on the findings. Unfortunately, the new program office, which worked within the Hungarian create industry centre Design Terminal was thoroughly downsized in the next year, and this professional partner became unavailable until very recently. Nevertheless, with help of CsTP we could greatly enhance the work among electronic music practioners and mainly technicians.

In the same year, the preparation to the create the first Croatian report, and to overhaul Croatian private copying remuneration and HORECA tariffs was started. The first findings were presented in the annual MAKK Conference in Zagreb. The Croatian report was also delayed due to data problems, particularly budget constraints and difficulties to re-measure in detail cultural access and participation in Croatia.

From the onset, the measurement of audiovisual works was also an important goal, because audiovisual consumption is very important in the private copy remuneration scheme. Despite repeated attempts, we could not find any audiovisual societies to join the cooperation. In 2016 however the Hungarian National Film Fund commissioned a study where economic impact of the fast-growing Hungarian film production was measured. This was necessary because of the calculations needed to maintain the Hungarian tax shelter. For the first time, a similar survey to the Musician surveys were carried out among 956 film industry practioners. The most important aspect of this work a much better measurement and understanding of the audiovisual markets. From this point, CEEMID was greatly upgraded with audiovisual data, often spreading to 25-35 countries, including Slovakia, and renamed from Central and Eastern European Music Industry Database to Central European Entertainment and Media Database. The broader entertainment label is justified by the inclusion of many indicators from the hospitality, restaurants, events and brewerage services sectors.

In 2015-16, Artisjus used CEEMID and the methodological work behind the cooperation to successfully defend its high tariffs in an excessive price inquiry by the competition authority. Because of the increased weight of the audiovisual sector, it could be shown that increase in private copy remuneration was due to the fact of the much-increased copying of films, TV series and television programs.

In 2017 we carried out a new Musician survey in the Slovak Republic to incorporate some new data, also with the increased experience gained in Hungary and Croatia. At the time of writing, the 8th CEEMID professional survey, the Hungarian 2017 survey is in the making. Its results will be incorporated in all Hungarian, Slovak and Croatian reports in the coming days. On behalf of Artisjus, the National Film Fund of Hungary a new CAP survey was carried out and further research is being made into the value gap with YouTube, Spotify and Deezer. The Croatian CAP survey was eventually carried out and the Croatian report is being finalized together with the enhanced, public version of the Slovak Report.

1.2 CEEMID music professional surveys

The CEEMID Music Professionals Database currently consists of the data of 3878 music professionals in 458 numeric and 66 categorical variables processed from 795621 survey cells.

Currently the CEEMID Music Professionals Database is the second largest similar database in the world, number one in Europe and second only to the Artist Revenue Streams of the Future of Music Coalition


Antal, Daniel. 2013. “Value Added by Music in Public Performance and Home Copying: Economic Theory and Empirical Applications for Tariff Setting.” Budapest.

Artisjus, HDS, SOZA, and Candole Partners. 2014. “Measuring and Reporting Regional Economic Value Added, National Income and Employment by the Music Industry in a Creative Industries Perspective. Memorandum of Understanding to Create a Regional Music Database to Support Professional National Reporting, Economic Valuation and a Regional Music Study.”

Antal, Dániel. 2015a. “A Proart Zeneipari Jelentése [The Music Industry Report of Proart].” ProArt Szövetség a Szerzői Jogokért Egyesület.

IFPI. 2017. IFPI Global Music Report 2017. London, United Kingdom: International Federation of the Phonographic Industry.

Antal, Dániel. 2015b. “Creating Better National Cultural Statistics with Eurobarometer Datasets and ESSNet-Culture Technical Recommendations.” Köln:Germany.