Name: 幫助音樂藝術家獲得報酬的小型插件設備 (The small, plug-in device helping music artists get paid)
Uploaded: 2025-08-08T18:20:18.000Z
Duration: 6 min 13 s

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.

這就是音頻表，全部內置在一個設備中，正面的麥克風可以捕捉到所有的音頻反射，背面是漂亮的插頭。

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.

我們在電路板上內置了 eSIM，這意味著我們監控的所有音樂和收集的數據，都可以直接發送到我們的雲端，而無需接觸其他任何人的網絡，確保安全。

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.

從健身房到零售店、咖啡館、學校、託兒所，只要是能聽到音樂的地方，我們都會出現。

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.

音樂家出身的技術企業家 Ryan Edwards 於 2018 年創立了 Ordu 公司，其使命是確保藝術家的音樂在商業場所播放時獲得應有的版稅，而靈感則來自於個人。

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.

我19歲時就簽了唱片合約，但事與願違，我們只發行了一張單曲，然後我花了20年時間從事技術工作，包括數據、金融服務技術、應用開發等，幾年前，我的一首歌在倫敦一家非常受歡迎的百貨公司播放，我當時真的很好奇，他們是怎麼知道的？版權組織是如何知道我的音樂在那裡播放的？通過簡單的谷歌搜索，我發現這是一個巨大的不準確問題，亟待解決，於是我的整個人生就這樣開始了，從一名藝術家，為生計而掙扎，到成為一名解決問題的技術專家，讓我們把這一切結合起來。

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.

我在廚房的桌子上做了一個非常非常基本的原型，於是我就想，好吧，我怎麼才能識別音樂，然後開始構建算法，玩弄各種東西，從那時起，我就有了一個可以工作的原型，然後我就去把它拿給音樂行業的一些人，從字面上說，我在 LinkedIn 上聯繫了他們，說你看，我想我有一個東西可以解決你的問題，他們都非常非常興奮，然後突然意識到，好吧，也許這就是我們把它變成生意的時刻，然後我就走了。

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.

人們進行人工調查，是以有人會坐在那裡，拿著剪貼板寫下發生的事情，他們查看無線電數據樣本，試圖理解並進行分析，以說明我們認為這就是現實世界中發生的事情，我們已經為我們所處的每個場所提高了精確度。

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

許多傳奇音樂家都對 Ordu 進行了投資，其中包括埃爾頓-約翰爵士（Sir Elton John），以及通過其投資公司投資的保羅-麥卡特尼爵士（Sir Paul McCartney）。

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.

我們的投資歷程與其他初創企業一樣，在過去的五年中一直在持續進行，為公司籌集了近 1800 萬英鎊的資金，然後我們進行了所謂的 ABBA 系列融資，該輪融資得到了單個家族辦公室的支持，總額達 550 萬英鎊，之所以稱之為 ABBA 系列，是因為 ABBA 的 Bjorn Orveas 也投資了該輪融資，所以最初是 A 系列，但現在我們稱之為 ABBA 系列。

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.

我一直記得與比約恩的第一次談話，他對我說，聽著，當我還是一個年輕藝術家時，我就想為這些數據而殺人，他說這真的很重要，然後他說的第二件事是，我不想為我沒有做、沒有實現的事情而得到報酬，他說我認為每個人都應該得到正確的報酬，我也是這麼想的。

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

除了幫助藝術家獲得版稅，Ordu 的設備還提供了一些非常有趣的數據。

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，全球酒吧最常播放的歌曲是 Van Morrison 的《Brown Eyed Girl》，花店最常播放的歌曲是 Sia 的《Give Me Love》，酒店最常播放的歌曲是 None Other Than Crowded House 的《Don't Dream It's Over》。

The analyst behind these insights is Hash Riaz.

這些見解背後的分析師是哈什-里亞茲。

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.

我們可以查看場所的地理位置，開始按地理位置對播放數據進行分組，我們還可以查看單個場所本身，我認為最有趣的部分之一是查看行業部門類型，將場所分為健身或餐飲零售業。

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.

我們還跟蹤各個場所消費的音樂數量，我們可以查看現場音樂場所、零售店、酒吧、俱樂部和酒吧，我們還可以進一步將零售店劃分為服裝店等。

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

對我們來說，最關鍵的是，我們從數據入手，確保人們獲得正確的報酬。我們現在開始發展，我們幾乎每天都會收到藝人管理團隊、經紀公司的請求、我們幾乎每天都會收到藝人經紀團隊、訂票代理、唱片公司的請求，他們會說，你們有這麼多的數據，我們能通過這些數據獲得報酬固然很好，但現在我們怎樣才能利用這些數據獲得更好的情報，所以我們會對藝人說，好吧，你想去澳洲巡演，你知道你在墨爾本做得非常非常好，所以你應該在墨爾本做兩晚巡演。你知道你應該在墨爾本做兩場演出，但奇怪的是雪梨沒有你的演出，阿德萊德也沒有你的演出，所以你可以跳過墨爾