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Basement Jaxx, La Roux and Lily Allen are among the first acts to make their music available through the MXP4 format, which claims to offer fans interactivity on a whole new level.

Developed in France, the eponymous B2B company behind MXP4 is already partnering with a number of labels, brands and Opendisc, the interactive CD software developers.

“We are working with both labels and brands to develop new ways to deliver premium content,” says MXP4 CEO Albin Serviant. “We want to move beyond just downloading a song to building an experience around it.”

MXP4 allows a single music file to contain different arrangements, meaning that consumers can interact with tracks in a variety of different ways.

There are four main strands to the format that offer the end user different types and levels of engagement – Mix It, Sing It, Remix It and Max It. Serviant describes how these work:

1. MIX It. “We offer different instrument and vocal parts of the tracks so the user can play around with different combinations to create different versions of the song.”

2. SING It. “This displays, on The Fly, the lyrics to the song so that the users can learn and understand the lyrics. They can then record their version through their webcam to share with friends.”

3. REMIX It. “Users can mix from one remix to the next and create mash-ups. For example, we have eight remixes available for the new Kelly Rowland single.”

4. MAX It. “Every time you play the song, it will deliver a different version and it is about giving the user a new interpretation each time.”

The format currently works via the internet, although there are plans to make MXP4 files downloadable within the year.

Serviant suggests that the file size could, however, be 10–15MB in size for each track due to the scope of each of the interactive elements.

MXP4 is currently positioned as a premium product for fans, rather than as a mainstream offering. However, Serviant explains that it could take on a much wider life as brands get more involved and labels layer vocal performances in different languages to take artists into new international markets.

“We are working with a brand at the moment who are looking to release a summer promotion with their own single,” explains Serviant. “The marketing director there is looking at ways to create an interactive online and virtual musical experience. People can access the track and pull down the vocals, switch on their webcam and record their own version which can be shared virally through social networks.”

Perhaps of greater marketing scope – beyond the UGC karaoke element – is the layering of vocal performances by the original artist in different languages. English-speaking artists have recorded, often phonetically, hits in different languages in order to break into markets such as Japan, China and South America. This new format can now combine this with fan interactivity giving them, currently, the option to record in three languages and layer these within the format. “This is a good way to market songs and artists in other markets,” says Serviant. “You can now start to localise artists.”


Source: MW