May 19, 2012

The Game Plan: Dropping Science: Very Important Advice For Upcoming Artists & Producers

unsigned guide

Written by Jesse Atkinson, CEO of Urban Threshold Inc. and Founder of The A&R Power Summitwww.TheARPowerSummit.com and The Underground Music Awards www.UndergroundMusicAwards.com and The Urban Music Explosion www.UrbanBuzzFactor.com

Music requires a sound strategy no matter what genre you’re in. Whether you want to be a classical performer, a jazz musician, a Hip-hop artist, or any other type of performer, you must gain an understanding of the skills needed to establish a long-term career on your own terms.

PLANNING & STRATEGY:

  • The first aspect of any journey into the music business is to actually create a business. Get a business certificate, S-Corp or LLC. Legalize your music company. Get your Tax ID number and open up a small business account at a bank.
  • Get a trademark for your stage name.
  • Copyright Law is the cornerstone and foundation for the entire music industry.
  • The “Poor Man’s” Copyright is a myth. Register your music the proper way with the U.S Copyright Office using either form PA or SR. Log on to www.Copyright.Gov
  • Join one of the performance rights organizations like ASCAP, BMI or SESAC
  • If you don’t have a sense of direction, you will not make it in the music business.
  • Define your career trajectory and outline the steps to get there.
  • Create a plan & set goals as to what you need to accomplish weekly, monthly and yearly. Be progressive, reach bench marks and keep at it.
  • Bigger Battles are won as a result of smaller victories..An effective game plan includes a combination of short term & long term strategies.
  • Your business Plan is your road map to success. Every aspiring indie label or production company should have one.
  • The features of a Music Business Plan include: Mission, Goals, Target Market, Marketing Strategy, Revenue Streams, competition assessment, Break Even Analysis, Expected Sales & Management Team
  • Every artist or producer should have a “Mission Statement.” A well defined “Mission Statement” focuses your energy & clarifies your purpose.
  • Being an artist or producer is a “business” just like any other, and it should never be treated as anything less..
  • Would you open a store without any investment capital? So, what makes being an indie label or production company any different?
  • Every hustler knows that it “takes money to make money.” So stop asking for hand outs. If you believe in yourself, then invest in yourself.
  • As an independent artist, If you can sell 10,000 records & tour on your own, then you really don’t need to be signed to a major label..
  • Nowadays an artist has to be like a politician. You have to have a platform and an agenda. And you must get out there on the campaign trail..
  • Every album release should have a Marketing strategy, Promotion implementation, Breakeven Analysis, ROI Assessment, weekly & monthly sales projections.
  • Do your due diligence, study the pros and cons and evaluate the R.O.I (Return On Investment).
  • The home boy way of doing things will not cut it in today’s music industry. Always utilize contracts & split sheets to avoid problems..
  • Get your merchandise together to brand yourself like T-Shirts with your name or logo on them.
  • R&D – Research & Development is essential for the continued growth of any company.
  • Make sure you have a Twitter, Facebook and Myspace Account
  • Equally important, it’s imperative that you get professional high resolution photos completed for media positioning, press and publicity.
  • Additionally, try to build relationships with people outside of the music industry like in the fields of film, fashion, finance or video game production.
  • And even if you’re in the Entertainment Business you should still study Wall Street to see how Money, Investments & venture capital operate.
  • Instead of reading a lot of these music blogs all of the time, I would advise aspiring music moguls to read magazines like “Black Enterprise” or “Forbes”.

MARKETING

  • No matter how good your music is, you must create and steadily increase consumer demand for it in order to continue to prosper.
  • Who is your target market? In order to market your music, it is imperative that you tailor your marketing and sales efforts to specifically reach the segment of the population that will most likely buy your music.
  • It is critical that you first determine or clearly identify your primary market. Your energies and funds then can be spent more efficiently.
  • You have to determine what is your USP (Unique Selling Proposition). What is it about you or your music that separates you from the competition?
  • Most unsigned artists just want to perform & nothing else. They give little thought to any other marketing strategy or career enhancement.
  • Many Producers don’t get placements because they don’t market themselves well, they don’t network & they don’t take meetings..They do a few beat battles, pass out a few beat CD’s and call it a day.
  • Some artists spend hundreds of dollars on studio time to create an album, but will not allocate a dime to a marketing budget to promote it.
  • Performing in showcases only & sending out a bulletin on Twitter or Facebook twice a week about your album or mixtape is not an effective marketing plan
  • An effective marketing plan includes: Press/Publicity, Radio Promo, Video Promo, E-Blast Implementation, Shows/Tours, Online Promo, Press Releases & Street Team/Club Promo
  • Merchandising is an essential element to any successful marketing plan. The biggest mistake an artist could make after playing a great show is to have nothing of any interest for sale immediately afterwards.
  • It’s imperative for indie artists to compile a comprehensive email database of fans, supporters & affiliates for E-blast marketing purposes.
  • Indie Artists should send out a bi-weekly Newsletter informing their fans of new releases, upcoming shows, merchandise for sale & give aways.

BRANDING

  • The “music business” has been transformed into a “Multimedia & Branding business” where the music, the songs & artists are the drivers.
  • You’re in the business of “YOU”. You’re a brand & how you manage your brand is important. How’s your customer service? Your marketing? etc.
  • Nowadays it’s no longer just about selling CD’s; It’s about brand development & selling “Content” & conveying the mission of your movement.
  • As an indie artist or producer, one of the best ways to expand your brand is to partner with a Non-Profit organization for a worthy cause.
  • Strategic Branding Plus Positioning Equals Increased Sales & Greater Market Share! An effective marketing plan gives you a competitive edge.
  • The value of a brand resides, for the audience, in the hope that the product or service will deliver what it promises.
  • The term “Goodwill” reflects the “prudent value” of a label or firm beyond its assets, such as the reputation it enjoys with its clients or fans. Are you “Goodwill Hunting?”
  • Your brand is what your company stands for & what it’s known for. If you can’t define your brand, your customers won’t be able to either.
  • “Your fans must either want to be you or believe you. You must know your target market & your music has to resonate with them” – Lenny S

SONGWRITING

  • Cinematic, Motivational, Memorable, Exciting, Different & Passionate. Those are the elements of a classic album.
  • Hit songs have an inevitability about them and they can change the atmosphere of a room instantly..Try to Create songs that can take you to the next level with in 30 seconds of hearing the intro.
  • Great song writers write songs that fuel desire, inspire hope, break hearts, unite people or just make you want to dance.
  • Some artists forgot what it was like to be a “fan” of the music and it shows in the stagnancy of their songs..
  • The Music Industry is not dead, people just want to hear good music instead of the one dimensional form of music that they’re being force fed.
  • Music is an “art” & when you treat it strictly as a business you get “Fast Food” or shall we say “Fast Music” with little substance.
  • Some artists should focus on creating a niche market for their music, instead of trying to sound like everyone else they hear on the radio.
  • Nowadays, It’s important that artists make music that can cross regional boundaries. Your music should translate above & beyond your hood.
  • There is no time limit on the creative process. Don’t try to “Rush A Hit”. Take your time & make sure the song meets certain musical standards.
  • Fiction is defined as an imaginative creation or pretense not based on reality. It appears that 75% of rappers nowadays are fictional writers.
  • It’s wise to get critical feedback about your music from people outside of your circle.
  • Indie artists often get tired of a song once they make a new one. But if everyone thinks that your old song is a hit, then keep promoting it.
  • Just because you’re on the underground does not mean that you should put less effort into mixing and mastering your songs.
  • A good engineer can take your music to a new plateau and give you a crisp sound. He or She has the ability to create, scrutinize, critique, modify, shape and control the details & sound quality of your music.
  • Often times a “great” song can lose its quality and explosiveness due to a poor mix and mastering.. So choose your engineer wisely.
  • And pay Producers what they are worth…They have a business just like you.

ADVICE FOR PRODUCERS

  • “Now more than ever, it is important that producers be musically inclined (be able to play at least one musical instrument professionally)” – Quincy Jones
  • Be open minded and versatile with your production.
  • But, Try to develop a signature sound.
  • Always make beats with an MC in mind. Ask yourself, “Does this sound like Busta joint or a Nas joint?” That’s the best way to build up your catalogue.
  • Go to as many Music Conferences & Seminars as you can to build connections.
  • Reach out to Artists or A&R’s on Twitter and ask them for an email where you can send them beats.
  • Find a few dedicated and hardworking dope upcoming MC’s and Singers and produce for them.
  • Make Youtube Videos showing yourself making beats.
  • Promote your brand and invest in a marketing strategy that includes Online Promo, PR/Publicity, E-Blasts, Video Promo, Radio interviews, Press Releases, Street Team/Club Promo.
  • Enter Beat Battles.
  • Research and understand the importance of music licensing.
  • Create your own website and put Beats online for the world to hear.
  • Do Contests where you give away some beats for free.
  • Do Remixes of popular songs and Mashups.
  • Lease Beats to upcoming artists ranging from $50 to $300 per lease.
  • Create a mixtape series featuring upcoming artists rapping or singing over your beats.
  • Build relationships with people outside of the music industry like in the fields of film, fashion, finance or video game production.
  • Reach out to the music supervisors of MTV, BET and VH1 and send them beats.
  • Reach out to the music supervisors of ESPN or other sports networks and send them beats.
  • Take as many A&R meetings as you can to shop your tracks.
  • Put together a Bi-weekly Newsletter about your production.

SHOWCASING

  • Showcasing gives you the opportunity to create a personal bond with your followers and it gives you the visibility to expand your business.
  • Showcase Necessities: Always bring a back Up CD, business cards, flyers or promo material & an appointed person to collect emails or sell merchandise.
  • Four Basic tips for improving your stage show: Make a memorable entrance, connect with the crowd, engage the crowd & make a memorable exit.
  • Whether your audience is 50 or 5000. Go hard or go home! Never slack when you hit the stage.
  • Showing up fashionably late to a showcase only makes you look bad and it causes people to question your level of professionalism.
  • It’s important that you select a hype man who complements your style and who adds value to your performance.
  • In most cases, bringing 50 dudes on stage with you while you perform, does little to enhance the value of your show.
  • All great performers rehearse and practice. If you want to perfect your stage show, it is imperative that you take time out to rehearse.
  • In case of technical difficulties during your set, do not become alarmed. Use the opportunity to promote your website, album or mixtape. Also utilize the time to perform a brief freestyle or acapella until the technical problem is fixed.
  • Holding the microphone correctly is essential, especially for rap artists. Never cover or hold the top of the mic when performing because it will cause your vocals to sound muddled and distorted.
  • Be mindful of who you surround yourself with, because often times it’s the non talented person in the crew who causes the most trouble at an event.

MUSIC VIDEOS

  • Now more than ever a visual presentation is important for the growth and survival of a business and for the development of a music artist.
  • Making a music video depicting you standing in front of a luxury car with fifty dudes behind you and the projects as a back drop is becoming cliche’ and played out.
  • Your music video should be imaginative & creative; it should capture the essence of your song.
  • Recently, I saw a music video for an R&B/Rap love song by an unsigned artist and it had dudes mean mugging the camera holding Pitbulls..SMH.. It just doesn’t make sense!

ARTIST DEVELOPMENT

  • The major labels need to start investing in Artist Development again & look to groom long term stars instead of short term fads.
  • Having no artist development is like making a movie with out a director..The artist development team brings out the best in an artist..
  • Artist Development involves: training with press relations, Stage presence, fashion, image, Brand formation & star quotient implementation.
  • Artists and producers must develop a strategy to enhance the price of their “commodity” and magnify the intrinsic value of their art.
  • To truly develop as an artist or producer, you have to study your craft. Don’t freestyle your career!

Revenue Streams

  • What is the projected revenue for your indie label this year? This is what you should be asking yourself. Then formulate a plan to get there.
  • If you can’t find a way to convert your huge buzz into a revenue stream, then you’re just a well known indie artist with diminished returns.
  • It is very important that every artist and producer know and learn the multiple revenue streams in the music business. Some of the Music Biz Revenue Streams include: CD Sales, Digital Download Sales, Merchandising, Tour Income, Licensing Revenue, Publishing income, Ringtone Revenue, Endorsement Deals and Sponsorship Revenue.

YOUR TEAM

  • A great individual effort can win a game, but it takes a dedicated team to win championships.
  • Often times you will find a “Judas” in every camp…beware of those individuals and try to root them out early if you can.
  • Try to surround yourself with like minded, goal oriented individuals who see your vision and who genuinely want to see you succeed.
  • Three very crucial members of your team include your Manager, entertainment lawyer and accountant.

TACTICAL MANEUVERS

  • If you approached your indie label like it’s the only means for you to pay your rent, you’ll find innovative ways to sell your music.
  • If you’re going to give your music away for free, at least have some other content or merchandise that’s part of your brand that can be sold.
  • Stay ahead of the curve & innovate. The music business is in the process of being reinvented with newer & more dynamic revenue streams.
  • In every other industry, the customer comes first. It’s imperative that you focus on customer service and give your fans what they want.
  • If you’re networking in the same circles over & over again, then that’s how far you will go. Think outside of your circumference.

THINGS TO REMEMBER

  • True Talent will always trump technology.
  • The music business is a “relationship” business.
  • In everything, Patience is Key!
  • If you can’t take constructive criticism, then you will never perfect your craft.
  • Being broke is only temporary; being poor is a “state of mind.”
  • No matter how talented you are or how well connected you are, at the end of the day it all boils down to your work ethic..
  • Support your underground radio shows. Advertise with them and promote them. For some of you that’s the only airplay you will receive..
  • It doesn’t make any sense bringing “50 people” to the Studio with you, especially if they are not going to contribute to the creative process. Leave the crew at home. You’re there to work.
  • Observe situations from a bird’s eye view instead of a worm’s eye view..Analyze the bigger picture & weigh the benefits & consequences.
  • Everyone has an agenda, whether it is hidden, upfront, positive or negative..Remember that!
  • The Best Path To Failure is to try to please everyone.
  • Never let anyone talk you into not believing in yourself.
  • In the music Biz, before you can make “Demands” you have to be in “Demand.”
  • If after 5 years you have not found a way to generate a profit from your Indie Label, even the IRS will tell you to declare it a hobby.
  • There are (3) kinds of people in this world; those who watch things happen, those who make things happen and those who wonder what happened?
  • Success is a “relative” term. What you may define as success may be viewed as mediocrity to someone else. So don’t step on other people’s dreams.
  • Sometimes being a “boss” means you’re going to take a “loss”.. Be prepared & surround yourself with understandable & trustworthy people.
  • What good is a distribution deal without a marketing budget and promotional strategy?
  • Most indie artists have been conditioned into giving their music away for free.. If the music good & marketed right, then it will sell.. Have faith in yourself and your product!!
  • There’s a big difference between “Let’s Do Business” and “Can You Do My A Favor?”.. Sadly, some people confuse the two.
  • Keep accurate book keeping and make sure you pay the taxes on earnings generated from your music endeavors.
  • A true leader espouses humility and puts the best interests of his/her team first.
  • Practice and take notes regarding press inquiries, because you don’t want to make yourself look like a fool during a major interview.
  • Honesty, Integrity, Dignity, Respect, Humility & Goodwill are essential elements for sustained success.
  • A Single lie discovered is enough to create unwarranted doubt over every truth expressed.
  • The person who brings gossip to your doorstep is the same person who talks about you behind your back when you’re not present..
  • Sometimes the journey to success is a lonely road, because many of your associates often leave your side before you reach the top..
  • If you say you’re going do something, just do it. You can easily find an excuse not to do something.
  • Remember These Three words: “Multiple Revenue Streams.”
  • Nowadays, Artists must be self motivated and entrepreneurial. If you’re not excited about your music, then how do you expect any one else to be excited about it.
  • Prayer + Positivity + Planning + Productivity = Profits
  • Surrounding yourself with inspirational and creative people will raise the level of your artistic endeavors.
  • Be original.. Elevate and inspire! Don’t live in the shadows of someone else’s legacy. Create your own path.
  • ‎Remember that GOD gave us people to love and things to use, not things to love and people to Use!
  • Everybody’s situation is not the same. So don’t compare yourself to others. Set your goals, stay in your lane and operate at your own pace. Don’t let other people define your success.

HIP HOP

  • The underground is what keeps Hip Hop Alive…The underground is what gives Hip Hop it’s vitality.
  • Hip Hop artists are in the unique position to influence others with their mere words alone. Now that’s power!
  • There’s a big difference in being an “Emcee” and being a “Rapper”.
  • An Emcee embodies the heart of a rapper, but a rapper can never embody the soul of an Emcee.
  • For a lot of youth who don’t have proper parenting, Hip Hop serves as a step parent, so to speak, molding & shaping the minds of tomorrow.
  • Behavioral scientists have concluded that music affects one’s actions & thought patterns. It can affect the way one talks, dresses or reacts.
  • Sadly, many elements within Gangsta rap today draw parallels to the dehumanizing images portrayed in DW Griffith’s “Birth of A Nation.”
  • Many rappers have sacrificed their moral integrity in order to chase the illusion known as the American Dream – Stay true to yourself!
  • Find a cause or venture that requires you to give back: Self sacrifice & duty to your community is essential – it’s Bigger than Hip Hop!
  • Ask not what Hip Hop can do for you…Ask what you can do for Hip Hop… Keep the culture Alive..

INSPIRATION

  • Gold is molded in the Fire and Greatness is molded in the furnace of adversity.. Overcoming hardship builds great character.
  • The Road to Victory is paved with humble submission to the Most High!
  • If you think big, then you’ll get big…If you think small, then you’ll stay small…Sometimes it’s as simple as that..
  • Pursue Excellence and success will follow!
  • “Look at things you lack as opportunities to be creative and not failures or deficiencies. Necessity is the mother of invention” – Julia Beverly
  • Passion, Planning, Prayer, Drive, Faith & Determination = Success
  • Instead of counting your days, try making your days count..
  • In order to succeed, your desire for success should be greater than your fear of failure.
  • ‎”It does not matter how many times you get knocked down, but it’s how many times you get back up that counts.” -Vince Lombardi
  • “If you want the rainbow, you have to put up with the rain.” – Dolly Parton
  • Without a clear purpose, life is motion without meaning and activity without direction.
  • A sense of purpose inflames a deep passion to overcome all obstacles in our way.
  • It’s time to roll up your sleeves, send up a prayer, raise some capital, formulate a strategy, develop a team & execute your plan.
  • It’s amazing what you can do, when you don’t have the things that you feel you need to get by – Believe in the power of your skills.
  • Make sacrifices for your dreams without bargaining your soul.
  • Be more concerned with your character than your reputation. Your character is who you are & your reputation is who people think you are..
  • The “Live Fast Die Young” mentality is dangerous..Instead of focusing on living “The Good Life” just try living “A good life” with morals.
  • “I know it seems hard sometimes, but remember one thing, through every dark night, there’s a bright day after that”….Tupac Shakur
  • “No matter how hard it gets, keep your chest out, keep your head up and handle it.”… Tupac Shakur
  • Positive thoughts bring Positive Results and Negative thoughts bring Negative Results…It all begins in the mind.
  • Positive Energy is Contagious..
  • Art, whether it’s music, poetry, painting or dance, is not only a form of self expression, but in a way it defines our humanity..
  • “Through all of the the rain and the pain, you got to keep your sense of humor. You gotta be able to smile.” – Tuapc Shakur
  • L.I.F.E. = Living In Faith Everyday
  • This is your time. Seize the moment. You are blessed and you don’t even know it.
  • Create your legacy. Live your legacy.
  • Every day may not be good, but there’s something good in every day.. Salute To the Gift of Life… Let’s make it happen!!!

The author, Jesse Atkinson, can be reached at Promoradio247@gmail.com

 

Start Your Own Internet Radio Station!

live365

live365For all those out there that have always dreamed of having their own radio station we have found the easiest solution, Live365.  The internet radio service has over 6000 stations run by independent programmers like yourselves, not preprogrammed commercial garbage.  The ease of access allows real people to play real music 24/7 to a worldwide audience.  Best of all it is completely legal and decently priced for most solutions.  They even have an option to pay your own royalties through BMI, ASCAP and SESAC so you can actually make money selling ads on your station!

We here at Coast 2 Coast Mixtapes have just recently launched Coast 2 Coast Radio using the Live 365 platform, with full royalties included and listing on iTunes radio.  This is a great outlet for our music, mixtapes and most importantly our DJs!  We will use the station as an internal tool to add to every aspect of what we are doing as the Coast 2 Coast brand.  Please check out Coast 2 Coast Radio to see what Live 365 has done for us! Then consider what they could do for you!

To sign up as a VIP listener and get all the 6000+ channels commercial free please go click the banner!

Rhythm J’s ASCAP Guru Session #4 – The 9 “What If’s” of Title Registration

iStandard Team

iStandard Team

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

http://coast2coastmixtapes.com/newindustrytips/index.php/2010/02/rhythm-js-ascap-performing-rights-society-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:

http://wecreatemusic.ascap.com/expo/post/Watch-Video-Highlights-of-Quincy-Joness-Interview-with-Ludacris-at-the-ASCAP-EXPO.aspx

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.

Rhythm J’s ASCAP Publishing Guru Session

Rhythm J

ASCAP - We Create MusicWhat’s up to all the heavy grinders, hard working, and struggling artists, producers, musicians, managers, and DJs!  Many of you may know me from my production, or my work with the iStandard Producer Showcase / istandardproducers.com; however, I still get a surprising reaction when mentioning my involvement with ASCAP.  Once someone finds out I work there I get this:

“Oh woooooord?!  You work for ASCAP?!? (long pause) oh…. That’s cool… (light bulb goes off)  Oh ok…. So then how do I (insert question here)… “  And so it begins!

As I don’t mind helping anyone who approaches me in person about their ASCAP account or any other Performing Rights Organization they’re involved with (BMI or SESAC), it has come to my attention in the last couple of years that there is a glaring gap in the knowledge of many industry personnel that needs to be filled when it comes to this aspect of the industry.  The most disturbing thing is that it seems people involved in the urban music genres are the ones that know the least about how to handle their PRO (Performing Rights Organization) business.  I have helped managers, attorneys (as scary as that sounds), established artists, platinum producers, publishing company founders, and countless others.

Being that this is the first blog a lot of people want to know what ASCAP is… what does it do really?  We can all sit here and say “I got my ASCAP set up I’m straight” but what does that really mean?  I’ve had people spend the money on the account… and then call me and ask me what does it do?  There have been people who have been members for 10+ years and never touched their account and expected to magically get a check.

STEP 1 – WHAT TO EXPECT – So what does being a member of a PRO do exactly? ASCAP BMI and SESAC collect royalties based on the amount of music that you wrote and/or published that is mainly played on Radio (commercial, satellite, internet, digital, NPR, college etc) and TV (network, cable, local, satellite, etc.) – Does this mean EVERY SPIN, EVERY AIRING of your music?  Of course not.  So keep this in mind going in!  It would be humanly impossible to cover every single thing that plays everywhere.  The PRO’s also pay royalties for a limited amount of ringtones, airlines, musak (elevator/ doctor’s office music), internet, etc.

The web is especially growing with their royalty payouts.  There are so many things in court at this point that a lot of these cases are waiting to pan out to set standards for the future…. This is why the popular sites like youtube or myspace don’t pay out for your webhits.

If you are anticipating a heavy volume of radio play, or anything that’s going to be play on NATIONAL TV (this doesn’t mean your local public access station) then it would be a good idea to join: http://www.ascap.com/about/howjoin.asp

I would recommend joining as a writer AND a publisher.

If one thing sticks on this blog – go home with this:

1 song =  50% writing, 50% publishing

If you just join as one – you are getting half your money.  Plain and simple.

We can go further with publishing deals and how keeping all of it vs. signing some away may or may not work to your advantage.  We can also get into music libraries and what their exchange is in return for publishing.

There are many routes we can take moving forward – SO if you have any questions regarding ASCAP – whether you’re a current member or would like to join… feel free to twitter me your questions @RhythmJ and I will either answer you via twitter or another blog posting, depending on what you are trying to find out.  Welcome to your new source of PRO FAQ!

Lastly – for all artists, producers, managers in the game who are trying to network, check out the ASCAP I Create Music Expo in LA this April. http://www.ascap.com/eventsawards/events/expo/

Producers, you can also submit for the iStandard Producer Showcase at the ASCAP Expo http://www.ascap.com/eventsawards/events/expo/2010/istandard.aspx

Rhythm J

ASK AN EXPERT – STARTING YOUR MUSIC PUBLISHING COMPANY

Billboard Charts

Billboard ChartsStarting your own publishing company is actually not that hard.  You as a songwriter may truly benefit from setting up your “own” publishing company because not only will you be able show off your own catalog of songs you’ve written – but also you may exploit songs of other writers that you acquire material from.  You will also be able to collect your money from mechanical and performance licenses direct. (Opposed to getting your money through another publisher).

Step 1

First of all – you will need to think up a few really ‘you-neek’ names for your company.  I suggest trying as many combinations of words & “new” words as you can possibly think of (that you like).  BMI, ASCAP and SESAC, including local government business databanks already have many of the most common names taken. So like I said – be unique.  Many big name artists sometimes can’t use their established artist names because they are too close to other names that already exist. So with this being a reality – many recording artists spell their “known” names backwards. For example: ECAF Music for Babyface or ECNIRP Music for Prince.

Step 2

You will need to join a performance rights organization such as BMI, ASCAP or SESAC.  Get in touch with these organizations to request the necessary information and application to join as a writer and publisher.  Your company can only be an “active” member of one. There is a fee.

ASCAP (American Society of Composers, Authors and Publishers)

www.ascap.com

BMI (Broadcast Music, Inc)

www.bmi.com

SESAC

www.sesac.com

Step 3

Now you must get your company set up with the local city / county / state government to get a business license / permit to do business as a music publisher.  You will need to decide in which business manner to file your company – Sole Proprietor – General Partnership – Corporation – D.B.A. (Doing Business As), etc.  You will also need a Federal Tax ID to complete your applications to BMI, ASCAP or SESAC.

Step 4

Open up a Business Bank Account (read about manager loans and limits).  If you’ve followed the steps above, and your credit is not TOTALLY ruined with bad checks, etc. – you should have no problem opening an account.  And even if your credit is bad… there are still ways to do this.

Step 5

Contact The Harry Fox Agency to request information and an application to join. This is so they can issue mechanical & digital licenses to collect money in your behalf – from the sales of your songs.  They also can perform audits when considered necessary.

THE HARRY FOX AGENCY, INC

711 THIRD AVENUE

NEW YORK, NY 10017

(212) 370-5330

AMERICA’S MECHANICAL RIGHTS SOCIETY

www.amermechrights.com

Marc Smilow

If you have any questions or comments please feel free to contact me anytime at expert@newindustrytips.com

ASK AN EXPERT – Publishing 101 Part 3 – Performance Royalties

ASCAP - We Create Music

ASCAP - We Create Music

In the United States, “performance royalties” are paid out mainly by three performance rights societies, BMI, ASCAP and SESAC. (Most foreign countries also have their own societies.) Under the copyright law, a songwriter controls the public performance of that songwriter’s songs. In essence, a songwriter designates either BMI, ASCAP or SESAC as his or her agent for the public performance rights of that songwriter’s songs. A songwriter can only affiliate with one society at a time. BMI, ASCAP or SESAC have arrangements with the parties – such as radio, television, concert venues, restaurants, etc. (essentially any user who performs music publicly) – who want to use the songs in the societies respective catalogs. For a licensing fee, BMI, ASCAP or SESAC will grant to that user what is called a “blanket license”, which means that the user can play any song, by any songwriter or publisher affiliated with that society, any number of times. It must be stressed that fees are collected from the entity or venue user, not from any actual performer.

For years radio airplay was the primary method for marketing almost all genres of music. Although that’s no longer strictly the case, what’s remarkable is that recording artists and record labels have never received any form of payment for this usage — not a single penny! Yes, publishers, songwriters and composers receive compensation via annual fees paid to ASCAP, BMI, and SESAC by radio stations. These fees are then apportioned to publishers based on the number of times songs are played as logged by the stations and monitored by the performing arts societies.

The money earned by a songwriter from the societies (i.e., the performance royalty) is proportionate to the volume of airplay of the songwriter’s songs. Performance royalties are based on extremely complicated formulas. Basically, however, the societies monitor radio and television airplay to determine how often a song is heard and by how many people. The larger the audience and the more times a song is played, the more the income. Since it is impossible to cover all media outlets, BMI, ASCAP or SESAC rely on estimates based upon samples. BMI obtains its samples from radio station logs and television cue sheets (lists of compositions used on television). ASCAP gets its samples from taping radio stations and from television cue sheets. After deducting operating expenses, the societies divide the fees up and pay it to their affiliated writers and publishers.   Whereas ASCAP and BMI operate on a not-for-profit basis, SESAC retains some income as profit. While ASCAP and BMI distribute all income from performance royalties to their composer and publisher affiliates (less an administrative fee), SESAC retains an undisclosed amount of performance royalty income. All three societies pay quarterly.

BMI, ASCAP or SESAC represent both songwriters and publishers. It should be noted that even where a songwriter is represented by a third party publisher, that songwriter needs to also join a society because songwriters and publishers are paid separately by the societies. To join ASCAP, a songwriter must have at least one song either published, recorded, or publicly performed. To join BMI is a bit easier. The writer must have a song either published, recorded, or likely to be performed publicly.  SESAC is also unique among the US performing rights organizations in that it does not offer open membership – one must be approved to join.  As for which organization is best, each songwriter will have to decide that for themselves because it is difficult to say with certainty which society pays more.

ASCAP (American Society of Composers, Authors and Publishers)

www.ascap.com

BMI (Broadcast Music, Inc)

www.bmi.com

SESAC

www.sesac.com

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

ASK AN EXPERT – Publishing 101 – Part 1 Intro to Publishing

EMI PublishingSo 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

http://www.emimusicpub.com/

UNIVERSAL MUSIC PUBLISHING

http://www.umusicpub.com/

SONY/ATV MUSIC PUBLISHING

http://www.sonyatv.com/

WARNER CHAPPELL MUSIC

http://www.warnerchappell.com/

BUG MUSIC/WINDSWEPT

http://www.bugmusic.com/

ROYALTY NETWORK PUBLISHING

http://www.roynet.com/


SPIRIT MUSIC GROUP

http://www.spiritmusicgroup.com/

KOBALT MUSIC PUBLISHING

http://www.kobaltmusic.com/

HARRY FOX AGENCY

www.harryfox.com

AMERICA’S MECHANICAL RIGHTS SOCIETY

www.amermechrights.com

ASCAP (American Society of Composers, Authors and Publishers)

www.ascap.com

BMI (Broadcast Music, Inc)

www.bmi.com

SESAC

www.sesac.com

Get Adobe Flash playerPlugin by wpburn.com wordpress themes