Licensing music into commercials is a great way to accelerate artist careers. Because of this, there are a lot of articles out there giving guidance for artists on how to contact music supervisors, pitch their music and land a sync deal. But what is the creative perspective on this process? How does a brand decide what style, artist or track should be chosen for a sync placement from the many available to them?
You've put your blood, sweet, and tears into your latest EP or album. You've had a great response with your existing fans at gigs. You've had a write-up in the music press. Your local radio station has decided to spin your track and you have your songs with a bunch of music supervisors. Everything seems to be pointing in the right direction, so why aren't you landing any SYNC deals? What's holding you back?
"What kind of music should I write to land a lot of syncs?”
For a few seconds, the panel seemed to be at a loss for words. That is until the Music Director spoke up, “Inspirational, anthemic rock that builds."
The “performing rights organizations” – ASCAP, BMI and SESAC – don’t get as much attention in these pages as do the royalties paid to SoundExchange for the use of “sound recordings.”
The PROs collect for the public performance of the “musical work” or the musical composition – the words and music of a song. These royalties are paid anywhere that music is performed in the US – including by radio and TV stations, by retail establishments and by digital music users.
If Prince's taxable estate is valued at $250 million, the icon's heirs could be looking at a bill for about $120 million in state and federal estate taxes.
If Prince died without a will in place, as his sister suggests, his estate will be determined by a Minnesota probate court and likely will come with a hefty tax bill.
Tyka Nelson filed paperwork Tuesday morning in Carver County District Court seeking to appoint Bremer Trust as special administrator of her brother's estate. She claims Bremer Bank has worked with Prince for a number of years and is familiar with his personal and business finances.
“Indie vs. Major Labels War.” Let’s air drop right into the battle zone…
There is an anti-major label mindset that believes major labels are evil monsters that take your music, turn it into mush, rob you of every cent, dress you in tights, color your hair purple, get you hooked on whiskey and meth, and make you walk and talk like a living doll. However, it’s the hate and fear of corporate globalization that draws the battle lines in the pursuit of independent power and control over career, and most of all, money.
So, you’ve been doing a couple of shows a month and you’re voice recovers easily (even if you are yelling for high notes); you’ve got your record done and you have become very popular.
People want to see you as often as possible. They’re your fans. If you did any yelling during the recording, it is going to be hard to repeat that over and over again during the multitude of weekly shows. With recording sessions (sometimes … if you have the money), you can rest and go back and do it again. Live performing doesn't allow that. A lot of people are involved in your show and they need their income.
A new report from Nielsen, State of The Media: Audio Today, compiled listening figures from 2015 and confirmed the strength of radio’s reach.
This report generally found a respectable performance for radio among younger generations, showing 66.5 million millennials using radio each week. Of that 18-35 age group, 75% of radio listening happens out of the home, and country was the top genre. They clocked in with just over 11 hours of time spent with radio per week. For ages 35-49, 57.4 million use radio each week, and the out-of-home and genre numbers matched the millennials. But the total weekly time with radio was notably higher at 13 hours, 35 minutes; the figure rose even more to a peak of 15 hours, 6 minutes, for Boomers.
While the music industry wages the 'streaming' war over royalties, many artists are finding new ways to maximize returns on new releases until a victor emerges.
One methed some artists have resorted to is 'windowing'. The short description of this method is releasing new projects on paid or premium streaming platform first in order to capture sales revenue before adding songs to the free and freemium platforms.
Digital royalties are fees that digital radio services, such as Pandora, SiriusXM , webcasters and cable TV music channels are required by law to pay for streaming music.
These royalties are paid by the services to SoundExchange, and accompanied with playlists of all the recordings played by the service provider.
Your album is mixed and mastered, finally! You’ve got cover art and maybe even replication lined up. Now what?
Sony Entertainment has joined the with others to include artists when considering selling their stakes in Spotify and the like.
This is good news for Sony artists who already share in the profits of streaming revenue collected by their music company.
We occasionally get inquiries about copyright law and how it affects the way the industry works in different situations.
It's not something that is easy to pin down with many infringement accusations and lawsuits filed every year. Though there are similarities in some cases, a lot of them require much time and research ... and money... to come to a decision on whether the accusation is even a valid one.
Looks like the digital revolution in music has forced another change in the way business is conducted for streaming media.
With the new change in designation for Gold and Platinum sales by the Recording Industry Association of America, it is now easier to gain coveted status by including on-demand streaming in the calculation methods.
It seems Spotify has been busy working on behind the scnes with new video options for our viewing pleasure... Expanding it's reach with new "In Residence" show hosts to further weave itself into the fabric of the industry.
SoSanAntone Gives Sneak Peak of New Self Titled Album Cover
What type of Music Industry job matches your personality?
Say goodbye to many of the players in the small to medium sized internet radio platforms!
A ruling has finally come down on the long awaited plight of streaming radio stations. Copyright royalty board, along with SoundExchange, has finally set requirements for streaming radio royalties payout to artists which burdens small to mid-sized stations to the point of shutting down. Live365, which is the backbone of many local and independent stations that offer content not available on large mainstream formats, has announced their last day of operation to be January 31st.
Performing Rights Organizations are not collecting all the publishing royalties you’re owed
While these services do perform a valuable and vital role in making sure artists get paid, they don’t do it all. In fact, they don’t even do half of it — and that means songwriters are leaving a lot of money on the table in the form of uncollected publishing royalties.