Your Gateway to Success in the New Music Industry
![FMC[1]](http://coast2coastblog.com/nit/wp-content/uploads/2012/02/FMC1-150x150.gif "FMC[1]")
 42 Different Ways That Artists Can Earn MoneyBy Paul Resnikoff Songwriter & Composer Revenue
Performer & Recording Artist Revenue
Session Musician Revenue
Knowledge of Craft: Teaching & Producing
Brand-Related Revenue
Fan, Corporate, & Foundation Funding
Other Sources of Revenue
|
Tadcast offers a unique solution for musicians looking to advertise their music as well as viral video producers. The concept is unique, musicians can pay to place their songs in the viral videos of YouTube sensations on a PPC basis. Raising the question of how many artists will pay to feature their songs in videos, considering the traditional model where producers would pay to license the music. The argument is that since your music is being played in the video you get the exposure, and only pay for actual clicks from fans interested in your music.
Thanks to Hypebot for the tip off.
See the video for yourself below
In Urban music most new artists want that “Hot” feature on their record. That is all well and fine, but let’s start with the basics of getting the single ready for the feature. If you have taken the time to produce and write a hit song on your own, then a feature should only add to the single and not make the single. Have you taken the time to edit and mix the record to the best of your abilities? Do you have the pro-tool files of the session or track? (did you 2 track the song and think you can just do it that way?…that’s another column) If you do, then you have the right foundation and building blocks to create a great song with a great feature. Always record with a tracked out beat verses an audio file. Trust me you will save time and headaches later.
I know that Lil Wayne, Gucci and OJ have done so many features and mixtape features that there was and is an anticipation of their records…not the indie artist, nor yours. So think about that when you choose a feature. Yes you want someone who it hot, but you really want someone who will compliment your style, swag and song. Remember they are already stars, you are the one that must stand out. Make sure you shine positive and not negative. But, if you are determined to have a feature, you need to protect yourself, money and future career.
Example:
So artist XYZ has laid his/her hot verse on your single. You paid the money and they are on their way out of town. You think you are good because you have the session files and a phone number. Hmmm … not at all. What you have is noise recorded in a studio until you have the rights to put the song out. Just because you paid for the verse does not mean you have the rights to it. Most major artists have granted rights to all master recordings of them to whatever label holds the contract on them. If you did not get paperwork in order prior to this then you have to get it taken care of before you can launch the single or album with artist XYZ on it.
What you will need:
To start with you will need a side artist agreement. This is an agreement between you ( artist or company) and the featuring artist. In this agreement you need to state what you expect from the artist regarding the song, rights, money, splits, marketing and promotion rights, and label clearances. If you plan on shooting a video and want the artist in the video, you need to state that as well.
Next you want to make sure you do a song split sheet. This should be stated in the agreement with the artists regarding how much of the publishing/ownership of the song they will want. You will need this so that when you register the song from copyright purpose as well as with your PRO (Performance Rights Organization) you can have people paid properly.
Finally you will need a Record Company Wavier of Liability. This is a document that the label will sign that gives you the final rights based on the agreement that the artist agreed to in the Side artist agreement. This is a document even more important than the Side Artist. This allows you to market, promote and earn revenues on the song you spent so much on. If this document is not in place, you run the risk of the label sending you a Cease and Desist on your record. That could mean all the money and work you put into the song would be down the drain. Protect your assets. Get your administration in order.
The person you should be focused on is the manager or the artist. They are paid money from the artist to make sure all business is taken care of. Enjoy your time with the artist, but make a good connection with the manager or assistant that is at the session with the artist. They are who you will be dealing with to finalize your paperwork and help get the label to finish what needs to be done.
Remember: Black and White = Green!!!
Janie Jennings
Read more from Janie at www.industryworks.org
Coast 2 Coast New Music Industry Convention Announced for August 27th-29th in Miami, FL
Coast 2 Coast Mixtapes & Magazine announce the 2nd Annual Coast 2 Coast Convention to take place in Miami, FL August 27th-29th. The conference will be attended by a large list of music industry guests and sponsors such as iStandardProducers.com, Datpiff.com, AllHipHop.com, HipHopDX.com, HipHopGame.com, MusicDealers.com, Myxer.com and many more.
Miami, FL (PRWEB) 1, July, 2010 – The Coast 2 Coast New Music Industry Convention is a professional music networking event focused on the new music industry to take place this August 27th-29th in Miami, FL at the Newport Beachside Hotel and Resort. The event will be hosted by J Hatch of iStandardProducers.com and feature presentations on marketing, promotion, new media, industry etiquette, production tips, music monetization and much more. Panelists from every major website and record label will sit alongside platinum producers and artists to inform fans and aspiring artists alike of the changing landscape of music.
Artists and music industry guests can register for the event now at http://www.coast2coastconvention.com as well as review the updated schedule, panelists, partners and sponsors.
Current panelists for the event include: Jill Strada (Assistand PD/MD HOT97 NYC), Kevin Shine (A&R – Jive Records), Steve Raze (Executive VP – AllHipHop.com), Vanessa James (MD 103.5 The Beat Miami), Larry Ryckman (MyStudio.net), Big Chuck (President – Poe Boy Records), Eric Sheinkop (President/Co-Founder – MusicDealers.com), KP (Datpiff.com), Cool (Cool and Dre – Platinum Producers), Baby Paul (Beatminerz – Platinum Producer) and dozens more.
The event will be covered in over 50 Urban media publications, blogs and websites with more partners added daily. Some of our main sponsors include: iStandardProducers.com, Datpiff.com, HipHopDX.com, Digiwaxx.com, AllHipHop.com, HopHopGame.com, NewIndustryTips.com, 2520 Clothing, MusicDealers.com, Jango.com, Scratch DJ Academy, Bottom Feeder Music, WordUpDJ.com and more.
Media partners for the event include: KevinNottingham.com, Makin’ It Magazine, Get Em Magazine, East Coast Digital Radio, Zingari Promotions, Soundcheck, Inc., Hip Hop U-C-IT, LLC, KeepItTrill.com, MixtapeWire.com, Ubanlax Entertainment, Get Signed Magazine, Lush Radio Online, Grindtime Magazine, Urban Relations, Ventilation X, BlackRadioisBack.com, Spate Magazine, Good*Fella Radio, Maad Management, HHH Magazine, BWD Promo, Official Street Radio, Exponent Entertainment, It’s Done! Marketing, 954 Magazine, 561 Magazine, Midwest Leak Magazine, Cherrit PR Buzz, Grynd Mobb Music, One Two Media Group, Groundupradio.com, 305 Media Group, MJA Fashion, Scoop Magazine, UMAC Canada, Analoghype.com, StopBeefinRadio.com and more.
To find more information on the event and a full updated list of panelists, sponsors and schedule please visit http://www.coast2coastconvention.com
What’s up to the seekers of knowledge (Guru Gong here)!
It’s been a while what I’m back with more ASCAP info. I noticed some of the questions on the comments of past articles and tried to answer some here.
Before reading this particular ASCAP Guru session, I recommend reading Guru Session #3 “The 9 Commandments of Title Registration”… Plus if you want to learn more read my other 2 Guru Sessions that have already been posted please check them out:
Guru Session 1 http://coast2coastmixtapes.com/newindustrytips/index.php/2010/01/rhythm-js-ascap-publishing-guru-session/
Guru Session 2
Guru Session #3 The 9 Commandments of Title Registration http://coast2coastmixtapes.com/newindustrytips/index.php/2010/04/rhythm-js-ascap-guru-session-3-9-commandments-of-title-registration/
Now that we covered the basics of title registration (see ASCAP Guru session #3) we can dive further into detail on the “what if” scenarios when you are registering your titles.
Again to be clear: Writing = 50% / Publishing = 50%.
IMPORTANT: Title Registration is completely separate from the newer Member Access System (members.ascap.com) that is in place. Your Member Access user name and password won’t work on Title Registration, it’s a whole other section.
For Title Registration you must go to: http://www.ascap.com/cwrreg/login.asp
The What If’s
1. “What if I have a co writer for the song who’s not part of ASCAP,BMI, or SESAC, at all and he/she just started writing music”.
You have 2 choices with this. Choice A, the most ideal choice would be, “do the right thing” and wait for this person to join a PRO (Performing Rights Organization), and once their accounts are ready, THEN register the work. Or choice B – “I don’t want to wait for that fool!”. Ok. Put the member’s name down with their percentage and mark him/her as NS (no society). Once this person joins it will then be their responsibility to notify ASCAP or to contact their PRO.
2. “What if a co writer or producer is from another PRO (Performing Rights Organization)?”.
This is fine, you both can still co-exist on a song even though you are from different PROs. Just mark what PRO they’re from. However! Make sure the work is registered with BOTH PROs involved with the work and the percentages are consistent! The last thing you want is a percentage share conflict between 2 different PROs.
3. “What if samples were used?”
Ha Ha Haaaaaaaa (big sinister echos). Make sure it’s cleared before registering it unless you want a letter from an attourney. Once a sample is cleared… That’s only half the battle. Usually the original songwriter(s) from the original record gets a piece of the writing and publishing… YES, they get a piece of your royalties for sitting at home chillin while you program their song into your MPC or software you use!
4. “What if the sample wasn’t cleared yet?”
Don’t register it. Put it on your mixtape / demo/ etc. For promotional use, fine… But if you go and sell it, and register it for potential royalties, that may not be a good look for you.
5. “What if the song isn’t copywritten yet?”
That’s up to you… ASCAP doesn’t require you to copyright but does recommend it since that is the ONLY means to legally copyright anything… And NO, mailing music to yourself doesn’t always work. To copyright go to www.copyright.gov.
6. “What if the song isn’t on a major album?”
So what… You can still get tons of radio or tv play without being signed.
7. “How does ASCAP want me to split the royalties?”
Any way you want, however you need to follow the 50/50 rule of thumb (see ASCAP Guru Session #1)
8. “What if my music is playing outside the US?”
Register it with ASCAP anyway if you are a member. ASCAP has reciprocal agreements in virtually every other Foreign Society. What this agreement means is that the PRO in that country, let’s use PRS the “ASCAP” of the UK as an example. PRS gathers all of the music data in their own country. If any ASCAP members happen to be writers of any songs they pick up, they send that money over to ASCAP. ASCAP then pays out during the international distribution 4 times a year. Therefore, ASCAP members are taken care of for the whole world, no extra work on your part. Just register the title and make life easy for ASCAP employees like myself.
9. What if I have a BMI publisher but I’m an ASCAP writer, can I be a member of both?
Make sure you understand this answer and read it again if you have to… A BMI publisher can’t collect on an ASCAP writer’s behalf, or vice versa.. Example: If you are a songwriter with ASCAP, and your indy publishing company (whether its your own company or someone elses), is with BMI, there’s a problem. The solution here would be for the publisher to pay the 1 time 35 fee and join ASCAP. A publisher can be a member of multiple PROs if they are collecting on behalf of several writers from different societies. If you are a writer, avoid switching societies at all costs, it’s a headache and takes a very long time. Make the publisher join as opposed to them forcing you to switch to another society. It takes a few weeks for a publisher to join, it takes months for a writer to switch, even longer if you are a BMI member.
Expo
Oh, I need to share this… In other news… I recently got back from the ASCAP Expo the other week and had the pleasure of meeting the Godfather, Quicey Jones. Q had a wealth of wisdom between the lines of priceless verbal scat and legendary stories of music’s biggest names… Ever. He dropped some jewels – here’s a clip from his interview here:
If you haven’t caught the videos from the Expo I suggest you stop by:
http://wecreatemusic.ascap.com/expo/
The veiws and opinions in this article are soley expressed by ASCAP employee Rhythm J
Twitter me – @RhythmJ is you have any questions about this blog, if you ask a question on the blog comments I may not get back to you right away.
Until next time
Producers: Don’t forget to check iStandardproducers.com for all of your producer needs and submission opportinities.
There has been a recent influx of businesses that are using online services to create legally binding agreements with clients. Not only is this easier and simpler for me, it is much easier on the company to both get the contract out as well as signed by both parties. I have used two of these services but definitly prefer the EchoSign solution as a cleaner and simpler way to do business. However, the DocuSign service was used by a much bigger company so I feel they may have a “more” legal version of the online signature system. Either way, in most of our lines of work this agreement will suffice.
Some examples of when and how to use this service would be for sales, independent contractors, licensing, publishing, record deals, along with any proposals that should have a binding agreement. For those that use contracts regularly the sites estimate up to 90% reduction in operating costs, etc. so it should be a no brainer for just about anyone. You can even embed frequently used documents on your site for clients to sign without you even emailing them!
Synchronization royalties (‘synch licenses’) are paid for the use of copyrighted music in audiovisual productions, such as in DVDs, television, movies, commercial, and advertisements. Music used in news tracks are also synch licenses. Synchronization can extend to live media performances, such as plays and live theatre. They become extremely important for new media – the usage of music in the form of mp3, wav, flac files and for usage in webcasts, embedded media in microchips (e.g. karaoke), etc but the legal conventions are yet to be drawn.
A synchronization license is needed for a song to be reproduced onto a television program, film, video, commercial, radio, or even an 800 number phone message. It is called this because you are “synchronizing” the composition, as it is performed on the audio recording, to a film, TV commercial, or spoken voice-over. If a specific recorded version of a composition is used, you must also get permission from the record company in the form of a “master use” license. The synchronization royalty is paid to songwriters and publishers for use of a song used as background music for a movie, TV show, or commercial.
Synchronization royalties are due to the composer/song-writer or her publisher. They are strictly contractual in nature and vary greatly in amount depending on the subjective importance of the music, the mode of production and the media used. The royalty payable is that of mutual acceptance but is conditioned by industry practice.
Fees for song usage range from $500-$15,000, with superstar tracks reaching up to $20,000-$250,000. That amount usually includes master rights for broadcast and most other media rights, with a time frame ranging from three years to perpetuity. An additional home video fee is equal to or greater than those quoted. Synchronization rights are negotiated separately, with master and sync rights usually split 50/50, unless the song is a cover — a situation that favors the publisher ?
The price tag for iconic, well-known tunes can be staggering: Tracks by the Who and the O’Jays, used in the opening credits of CBS’ “CSI: Crime Scene Investigation” and NBC’s “The Apprentice,” respectively, generate six-figure deals annually.
Example sync licenses fee’s from the NBC television:
CELEBRITY APPRENTICE
“For the Love of Money” – O’Jays – ($6000/week)
CHOPPING BLOCK
“Ring of Fire” – Johnny Cash – ($11,000/week)
ER
“Shadows and Regrets” – Yellowcard – ($6000/week)
HEROES
“Together” – Krystal Meyers – ($5000/week)
THE JAY LENO SHOW
“Hold On, I’m Comin’” – Sam & Dave – ($8000/week)
“Life Is a Highway” – Tom Cochrane – ($2000/day – $8000/week)
“Mess Around” - Ray Charles - ($6000/week)
See attached Sync License for: Synchronization Example
Marc Smilow
Thanks for taking a minute to read my Blog and I hope you found it helpful. If you have any questions or comments please feel free to contact me anytime at expert@newindustrytips.com
So I was recently asked by an artist/friend how does publishing work? My response is do you have a couple of hours to site down and we can go through everything and you can buy me lunch. I think I got the short end of the deal.
Now onto publishing 101…..Successful songwriters (Lyrics) and composers (Producers) have a relationship with a publishing company defined by a publishing contract or can become there own publishing company. You can do a publishing agreement with a major publishing company such as EMI Music Publishing, Universal Music Publishing Group, Sony/ATV Music Publishing, Warner/Chappell Music and/or a smaller publishing company like Bug Music Publishing, The Royalty Network, Spirit Music Group or Kobalt Music Publishing or even a sub publishing company of one of the majors.
The publisher agrees to see to it that the composers receive royalties from various uses of their compositions. Generally they also provide an advance against future income. In return, the publishing company receives a percentage, which can be as high as 75% and varies for different kinds of royalties, or the current trend an administration deal. An administration deal is when a publisher just collects the above mentioned royalties for a smaller advance and a smaller percentage generally between 10% to 20%.
There are several types of royalties: Mechanical Royalties derive from the sale of recorded music, such as CDs or digital downloads. These royalties are paid to publishers by record companies (through the Harry Fox Agency as well as through American Mechanical Rights Agency in the U.S.) or can be directly collected through the record labels publishing royalties departments. Performance Royalties are collected by performance rights organizations such as SESAC, BMI or ASCAP and are paid by radio stations and others who broadcast recorded music. Synchronization Royalties are required when a composition is used in a film or television soundtrack. These royalties typically pass through the hands of a music publisher before they reach the composer.
A publisher will typically also handle copyright registration and “ownership” matters for the composer. Music print publishers also supervise the issue of songbooks and sheet music by their artists.
Thanks for taking a minute to read my Blog if you have any questions or comments please feel free to contact me anytime at expert@newindustrytips.com
Marc Smilow
To become your own expert on publishing be sure to see the post on the industry handbook, Music, Money & Success
Publishing Companies Contact Information:
EMI MUSIC PUBLISHING
UNIVERSAL MUSIC PUBLISHING
SONY/ATV MUSIC PUBLISHING
WARNER CHAPPELL MUSIC
http://www.warnerchappell.com/
BUG MUSIC/WINDSWEPT
ROYALTY NETWORK PUBLISHING
SPIRIT MUSIC GROUP
http://www.spiritmusicgroup.com/
KOBALT MUSIC PUBLISHING
HARRY FOX AGENCY
AMERICA’S MECHANICAL RIGHTS SOCIETY
ASCAP (American Society of Composers, Authors and Publishers)
BMI (Broadcast Music, Inc)
SESAC
I just came across a new site that has a smaller client list but a proven track record of great placement opportunities for artists. Most recently he placed a group on a national Corona TV ad and secured $7500 for the license! Since all the new online licensing companies are non-exclusive there is no reason for you not to sign up! Be sure you only upload music that is all original that you own the copyrights to, NO SAMPLES!!
Many artists know that licensing their tracks is a great way to make money from your master recordings from the use of them in Film, TV, Online and more. But not many artists actually know how to go about doing it. There are many online “Licensing Marketplaces” now that simplify the process using Web 2.0 type sites to aid in the sale of your master recordings. I have links to a few of the best websites that I have found but there are many more emerging everyday! Most of these sites just allow you to upload music and hook up your PayPal and take care of the rest for you!
The one downfall to this is these sites do not act as a typical Publisher, all the licenses that they negotiate are typically fractions of what a large publishing company could potentially secure. The problem it is nearly impossible to get a publisher until you have proven success with your music. So until then, enjoy the fruits of the New Music Industry and Web 2.0 technology!!
The sites we are listing here include www.YouLicense.com, www.Rumblefish.com and www.PumpAudio.com. Each of these sites grant non-exclusive rights to license your music, so join all 3 by clicking their logos below!!
Coast 2 Coast Mixtapes Blog