#copopcon19
Speaker
Digital Music
Sascha Lazimbat
Photo: Camille Blake

Sascha Lazimbat

Chief Operating Officer, General Counsel | Zebralution GmbH

Sascha is an experienced digital media executive based in Berlin, Germany. He is Chief Operating Officer, General Counsel and one of four shareholders in ZEBRALUTION, a leading digital distributor for independent music, audiobooks and podcasts that Sascha co-founded with Kurt Thielen in 2004, sold to Warner Music Group in 2007, and finally bought back from WMG in 2017 as part of the divestment process connected to WMG´s acquisition of the Parlophone label. ZEBRALUTION operates from offices in Berlin, Leverkusen, Bochum, Amsterdam, Paris, Barcelona, London and Los Angeles.

In the 1990s, Sascha worked as an author and editor for music magazines including Spex, Frontpage and Groove, as well as for music television network VIVA. He acted as a consultant for brands including adidas and Levi´s and was part of the team that created the Red Bull Music Academy. As an attorney at boutique law firm Zimmermann & Decker, he represented artists, composers, publishers and labels including Richard Branson´s V2 Records. Before founding ZEBRALUTION, Sascha career in the Noughties included positions as Executive Assistant to the COO at leading German independent movie producer and distributor Senator Entertainment and as Head of Music & Video at Vodafone. After WMG´s acquisition of ZEBRALUTION, Sascha served as Managing Director Business & Corporate Development at Warner Music Group Central & Eastern Europe, founded e-book distribution company A2 Electronic Publishing and acted as an advisor for companies including Deutsche Telekom, ProSiebenSat.1, Bastei Lübbe, Magix and tape.tv.

Speakerslots at c/o pop Convention 2019:

Friday 03.05

16:30 - 17:30

Streaming, not dreaming! #2 (ENGL.)

Mehr Infos
Streaming has become the primary source of music consumption. It is well known that today's models still have a lot of room for improvement, especially when it comes to remunerating the creative behind it. But where should we start when it comes to improvements? Today we are going to discuss some proposals. Do user-centric payment models have a future? Should there be more counting points in order not to discriminate against tracks that have been heard for longer? How can the metadata and their maintenance be optimized? Would a higher subscription price for improved audio quality be implementable?
Timetable