It's all about the super fast clearances, and you've got this running total of how many are cleared, how many are part-cleared.

But this isn't quite the same, and from a production point of view, the way we work is that for a 30-track disc we might have 80-100 tracks on a wish list - that gives us a good chance to get enough things cleared to make the disc. If your business meant getting components in, you could source then from here, there and everywhere, and find ways to get costs down. It just means you're not in complete control of your destiny.

Quite often there are these amazing songs, but X has got 5 per cent of publishing, and that's your block. and without their permission you can't do anything. You've then got to try and track them down. Sometimes it's copyright control, and that means that the person who wrote it isn't represented by anybody, and is travelling around the world. There might be some brilliant SingStar track that you want to get, but 5 per cent of it is owned by some party that doesn't want to come to the table for whatever reason. It's quite easy to describe, but you can imagine what that means. Then, it might be written by more than one person, and they're represented by a different company. So EMI might own the master to something, but Sony has publishing. You've got all of these competing companies - which are our partners - but at the same time as being in competition with each other they'll also share ownership of content.

So that always makes it more complicated. With licensing, anything you want to put through your model is generally owned by more than one person, or more than one company. If you're running a business, normally you buy some things from somebody, you might put some things together, and then sell it on.

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