Performing Rights Organizations aggregate the performing rights of writers and publishers and then negotiate licenses with all the users of music, collect the income from those licenses, and distribute that income. Read More.
Whatever you think of Adele’s decision to follow the likes of Taylor Swift and Thom Yorke and sidestep streaming services like Apple Music and Spotify, she’s proven again that she has the star power and “four quadrant” appeal to change the trajectory of album sales for the industry this year. Read more.
Everyone wants to know how to make a little extra cash with their music, and music licensing is an appealing option for many independent musicians. There are measurable differences between the different levels of music libraries – finding the ones for you depends on your experience and business model. Read more.
“Happy Birthday To Me:” a complicated history – and future – for the world’s simplest song; vinyl sales continue to make headlines, with sales generating more revenue than free Spotify, YouTube, and VEVO combined; JVC and Taiyo Yuden to stop producing optical media – FalconMedia remains a reliable option. Read more.
In the broadest sense, a music publisher looks for music initially like an A&R rep at a label would. We’re searching for the best talent. We do differ in one significant way: talent alone can sometimes entice an A&R rep to sign an artist. With music publishers, that is rarely the case. Read more.
Working with partners when songwriting is inherently collaborative and is often how great songs get written. Plus – for musicians, songwriters, and producers – the music creation process is usually the most enjoyable. But how do you split up the music publishing pie when it comes down to business? Read more.
Music licensing is a very lucrative business with no shortage of placement opportunities. As an independent music creator, you have the ability capitalize, but you have to be organized, flexible, patient, and willing to cater to the market’s needs. This is a different ball game when compared to creating music for an artist. Here’s some tips to help you better prepare yourself for licensing. Read more.
For an indie artist, there are tried and true ways to earn a few bucks: sell albums, downloads, concert tickets, and merchandise. Many independent artists may have heard the term “publishing deal” thrown around before, but the process of understanding, finding, solidifying, and earning money under the right sort of music publishing deal can be a mystifying one. Read More.
We had people come to us when we first opened business saying, “I’ve been told by my manager that I need a website, and it needs to have a tour page and a photos page, and all of this other kind of stuff.” While that’s all great, and I think all that information is good to have, I think people don’t think critically enough about their online music marketing. I know I didn’t when I was first starting out as an artist. Read more.
CD Baby has launched CD Baby Pro, a new service for independent music artists that helps collect the songwriting and music royalties you’ve earned worldwide. Even if you’ve registered your works with a PRO, it’s virtually impossible to collect all the publishing royalties owed to you every time one of your songs is purchased, streamed, or played in a public setting. CD Baby Pro solves this problem and makes it easy for you to get paid what you’ve earned. Read more.
Songwriters – or more correctly, copyright holders – have always been compensated for the use of their songs, whether it was via traditional radio or new streaming services. With the rise of more and more new outlets for music consumption, master rights are an essential asset to leverage for artists and labels to earn money. Read more.
Who are the buyers for your original music? The short answer is they are incredibly diverse, and include everything from video game production companies to late night TV variety shows. And while the enormous range of buyers is encouraging, they mainly operate in a closed loop of industry contacts, so gaining access can be difficult. That why knowing the ground rules and how value is perceived by the buyers is crucial before attempting to break in to the loop. Read more.
Music publishing has its lore and legends. The story of Michael Jackson coming to own the rights to The Beatles’ catalog is high on the list. It started when Jackson contributed to McCartney’s Pipes Of Pan album, when McCartney opened Jackson’s eyes to the notion of song copyrights as an investment. Read more.
If you are an aspiring songwriter, the promise of earning a steady stream of music royalties from the use of your songs is just that – a promise. Assuming that you’ve written songs that have the potential to attract an audience, and likewise a potential user of your songs (a licensee), understanding the numerous avenues available to license your original song is the next step on the road to earning money from your compositions. Read more.
Some people want to fill the world with silly love songs … and what’s wrong with that? If you’re planning to use a previously written composition in your efforts, though, you may want to ask: “What constitutes a public domain composition?” Read More.