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As he details the flaws hes found in the music industry since the early 2000s, his words fly out faster and faster until he has to stop to breathe in the middle of a sentence.

Music is important, says Price, the former owner of the indie record label Spin.

And if you want to use music, youve got to fucking pay for it.

At a time when the only other option for digital sales was the iTunes Store, Tunecore allowed musicians to upload their music to sell on the internet.

Artists, Price believed, no longer had to get locked into contracts with labels, ones where they signed away their copyright.

Price realized the internet had the potential to change the music industrys whole business model.

I think what happens in the next three years will really decide the future of the industry I launched Tunecore because I thought artists were being screwed, and you know what I was right, he says.

Tunecore became part of the revolution that overthrew the old system of music and helped introduce a new digital Wild West.

It was radically successful in helping artists get their music online.

In 2013, after being ousted from Tunecore, Price founded Audiam, a service that attempts to help artists get paid for digital streams.

Price is a controversial figure in the music industry.

He isnt right about everything, but hes right about this: the music industry has a problem with ownership and pricing transparency, and nobody who could do anything seems to care about fixing it.

From 2012 to 2013, purchasing physical music such as CDs and records dropped 13 percent, according to the Pew Research Center.

Digital music purchases dropped 6.3 percent.

That year was the third in a decade and a half in which physical music sales dropped more than 5 percent.

For everyone who makes their livelihood from music, those numbers are terrifying.

Artists dont feel like theyre getting their fair shake, as songwriter Aloe Blacc told me in December.

Labels, who represent performers and their copyrights, feel like they are being squeezed out of the picture and losing money rapidly.

Publishers, who handle the songwriters and their copyrights, are worried that copyright is going to change so drastically that their future may be in jeopardy.

Almost everyone in music thinks they arent paid what theyre worth.

In November, Blacc wrote in Wired that Aviciis Wake Me Up, which Blacc co-wrote and sings, was the most streamed song in Spotify history and the 13th most played song on Pandora since its release in 2013, with more than 168 million streams in the US.

And yet, he wrote, that yielded only 12,359 in Pandora domestic royalties.

The numbers are much, much fuzzier than they appear, however.

There are a few things everyone in the industry wants.

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