Music revenues are declining for more than ten years. But we are not listening less music. Digital revolution, piracy, streaming and mostly customers behaviors are affecting heavily the monetization of the entire industry. Define a new business model is key to grow.
During Music Biz 2015 in Nashville, Jacqueline Charlesworth, General Counsel and Associate Register of Copyrights at the U.S. Copyright Office, discussed important legislation surrounding
copyrights, including proposed changes to the U.S. Copyright Act and the recently reintroduced Songwriter Equity Act.
Original pitch deck for Yoroomie App (www.yoroomieapp.com). Deck was used to potentially raise a seed round, but the company was acquired instead of raising.
Music revenues are declining for more than ten years. But we are not listening less music. Digital revolution, piracy, streaming and mostly customers behaviors are affecting heavily the monetization of the entire industry. Define a new business model is key to grow.
During Music Biz 2015 in Nashville, Jacqueline Charlesworth, General Counsel and Associate Register of Copyrights at the U.S. Copyright Office, discussed important legislation surrounding
copyrights, including proposed changes to the U.S. Copyright Act and the recently reintroduced Songwriter Equity Act.
Original pitch deck for Yoroomie App (www.yoroomieapp.com). Deck was used to potentially raise a seed round, but the company was acquired instead of raising.
Tv studio and editing suite - BroadcastSarah Rizvi
It is essential to know the layout and components of a TV studio along with understanding what goes on behind the final video we see on screen. This presentation is a compilation of the diverse departments involved in producing stimulating videos to broadcast on Television.
Building off the basics presented in VC 101, we will be using the components of a traditional VC investment memo as a vehicle to examine the aspects of an investment opportunity, and the associated analysis, that matter to VCs and why.
How to define and position your VC brand to attract funding and dealflow.
* note: more recent updated version below:
https://www.slideshare.net/dmc500hats/branding-strategies-for-better-dealflow-and-fundraising-aka-the-helpful-vc
A look at how music has evolved from the very beginning. This slide show includes links to internet information such as historical facts and You Tube videos in order to provide a multitude of facts about composers and musical eras.
Pitch deck of the facial recognition startup Mindolia.com. Adapted from Sequoia Capital Pitch Deck Template http://www.slideshare.net/PitchDeckCoach/sequoia-capital-pitchdecktemplate
A presentation by Shiveta Sooknanan, Legal Officer II, Intellectual Property Office at MusicTT, IPO & WIPO's How to Make a Living from Music workshop.
OUTLINE:
Copyright and Neighbouring Rights
Exclusive rights of the copyright owner
Individual management of rights
Collective management
Models of collective management: Traditional CMO, One-stop-shop, Rights Clearance Centre
CMOs in the Caribbean
CMOs Legislation/Regulations
Licensing Formats/Royalties
Copyright infringement
Issues faced by the music industry in Trinidad and Tobago
Proposed Solutions
Tv studio and editing suite - BroadcastSarah Rizvi
It is essential to know the layout and components of a TV studio along with understanding what goes on behind the final video we see on screen. This presentation is a compilation of the diverse departments involved in producing stimulating videos to broadcast on Television.
Building off the basics presented in VC 101, we will be using the components of a traditional VC investment memo as a vehicle to examine the aspects of an investment opportunity, and the associated analysis, that matter to VCs and why.
How to define and position your VC brand to attract funding and dealflow.
* note: more recent updated version below:
https://www.slideshare.net/dmc500hats/branding-strategies-for-better-dealflow-and-fundraising-aka-the-helpful-vc
A look at how music has evolved from the very beginning. This slide show includes links to internet information such as historical facts and You Tube videos in order to provide a multitude of facts about composers and musical eras.
Pitch deck of the facial recognition startup Mindolia.com. Adapted from Sequoia Capital Pitch Deck Template http://www.slideshare.net/PitchDeckCoach/sequoia-capital-pitchdecktemplate
A presentation by Shiveta Sooknanan, Legal Officer II, Intellectual Property Office at MusicTT, IPO & WIPO's How to Make a Living from Music workshop.
OUTLINE:
Copyright and Neighbouring Rights
Exclusive rights of the copyright owner
Individual management of rights
Collective management
Models of collective management: Traditional CMO, One-stop-shop, Rights Clearance Centre
CMOs in the Caribbean
CMOs Legislation/Regulations
Licensing Formats/Royalties
Copyright infringement
Issues faced by the music industry in Trinidad and Tobago
Proposed Solutions
Music Publishing & Copyright Administration In The Internet AgeDae Bogan
The following presentation is from my lecture, "Music Publishing & Copyright Administration In The Internet Age" at the Independent Music Conference on October 25th, 2014 at SAE Institute in Los Angeles.
Conference Description: This workshop will cover basic music publishing and copyright administration from the perspective of a DIY independent artist. You will learn about self-publishing in the Internet age and takeaway resources for music placement, music licensing, and royalty collection around the world. Attendees should leave with an understanding of synchronization rights, mechanical rights, and performance rights in the United States.
Future of Music Coalition: The New Power Trio: Brands Bands and Revenue - mid...midem
Given by the Future of Music Coalition's Kristin Thomson at midem 2012, this is a "first look" presentation FMC's survey of 5,000 US artists, on where their revenues come from.
It notably reveals that "merchandise and branding is only relevant to a small number of musicians"; grants, and funds from fans, are their two key revenue sources.
That said, sponsorshio has proven to be one of the new sources to kick in where that from labels may have dropped off. "Corporate sponsorship of videos has been a total revelation," said one US rock band.
The survey also found that artists are "increasingly strategic about their brands", investing for example in "dedicated merch guys", to quote one respondee.
For more information: http://futureofmusic.org/ars
9/19/2011 Self-Concept in Consumer BehaviorWalid Abraz
Date: 9/19/2011
Course: MK617 Consumer Behavior
Assignment: Self-Concept in Consumer Behavior
Description: “Every product you purchase reflects who you really are”
A critical review of Joseph Sirgy article about Self-Concept in Consumer Behavior.
For this assignment, students were presented some definitions and theories about Self-Concept in Consumer Behavior. This included the definition of the Image product, the process of identification, congruity and incongruity, but also some self-concept measurements practices.
Brian Solis takes a look at how disruption changed the face of the music industry, and the lessons all businesses can learn from this period of massive change. This paper examines the effects of "digital Darwinism" on how we create, distribute and consume music, as well as the effects of disruptive technology on our everyday lives.
Presentation about the fundamentals of the music business given to independent artists and songwriters by Ben Stauffer, Vice-President of Finance for Centricity Music, May 2014
Music industry veteran, Keith Hatschek, gives an overview of the world of music licensing including some examples of typical fees paid to use music in a variety of media. Presented Fall 2015 to McGeorge Law School students in Sacramento, CA.
This session reviews the basics of digital revenues streams for musicians using online radio, download and streaming sites to promote and sell their music.
Part 1: Metadata for Musicians workshop at University of the Arts, Philadelphia, PA on Feb 3, 3016. Hosted by the Corzo Center for the Creative Economy. http://corzocenter.uarts.edu/
Here's part 2:
http://www.slideshare.net/tsunamismr/metadata-for-musicians-discovery-attribution-and-payment
Metadata for musicians: discovery, attribution and paymentKristin Thomson
Part 2: Metadata for Musicians workshop at University of the Arts, Philadelphia, PA on Feb 3, 3016. Hosted by the Corzo Center for the Creative Economy. http://corzocenter.uarts.edu/
Slides from Metadata for Artists session at Music Business Conference in Nashville, TN, May 13, 2015. Panelists included Bill Wilson (Music Biz), Bryan Calhoun (Blueprint Music Group), Alison Booth (Sony Nashville) and Kristin Thomson (Future of Music Coalition. #musicbiz2015
Metadata for Musicians workshop at the Future of Music Policy Summit, October 27-28, 2014 in Washington, DC. These are the slides from the first workshop on Monday, October 27, when we talked about the data-related steps for preparing music for release.
Metadata for Musicians workshop at the Future of Music Policy Summit, October 27-28, 2014 in Washington, DC. These are the slides from the second workshop, where we focused on how metadata powers discovery, attribution, and compensation.
Presented at Vienna Music Business Research Days, October 2, 2014, based on data collected through the Artist Revenue Streams project.
http://money.futureofmusic.org
Salma Karina Hayat is Conscious Digital Transformation Leader at Kudos | Empowering SMEs via CRM & Digital Automation | Award-Winning Entrepreneur & Philanthropist | Education & Homelessness Advocate
When listening about building new Ventures, Marketplaces ideas are something very frequent. On this session we will discuss reasons why you should stay away from it :P , by sharing real stories and misconceptions around them. If you still insist to go for it however, you will at least get an idea of the important and critical strategies to optimize for success like Product, Business Development & Marketing, Operations :)
Reflect Festival Limassol May 2024.
Michael Economou is an Entrepreneur, with Business & Technology foundations and a passion for Innovation. He is working with his team to launch a new venture – Exyde, an AI powered booking platform for Activities & Experiences, aspiring to revolutionize the way we travel and experience the world. Michael has extensive entrepreneurial experience as the co-founder of Ideas2life, AtYourService as well as Foody, an online delivery platform and one of the most prominent ventures in Cyprus’ digital landscape, acquired by Delivery Hero group in 2019. This journey & experience marks a vast expertise in building and scaling marketplaces, enhancing everyday life through technology and making meaningful impact on local communities, which is what Michael and his team are pursuing doing once more with Exyde www.goExyde.com
2. Two copyrights in a song
Songwriters
Publishers
Sound recording
copyright owner
Recording artist
notes and lyrics make up
a musical composition
sound recording
is a recorded performance
of a musical composition
Background
musicians
and singers
3. In most cases,
composition royalties
are separate and distinct from
sound recording royalties.
4. Even if you are both
the songwriter and the
recording artist,
you need to think about
these roles separately.
5. Based on the contours of copyright
law and business practice, this list
includes all the possible ways that
US-based musicians can make
money off their compositions,
sound recordings, performances,
brand, or knowledge of their craft.
7. Compositions/being a composer
1. Publishing advance
2. Mechanical royalties
3. Commissions
4. Public performance royalties
5. Streaming mechanical royalties
6. Composing original works for
broadcast
7. Synch licenses
8. Sheet music licensing/sales
9. Lyric display
10. Ringtones
11. Songwriter awards programs
12. Publisher settlements
money.futureofmusic.org/40-revenue-streams/
C
8. 1. Publishing advance
The rate: No standard rate
What it’s for: Advance on publishing earnings, as part of
a publishing deal
Who pays it: Publishing company
Who gets the money: Songwriter/composer
money.futureofmusic.org/40-revenue-streams/
C
9. 2. Mechanical royalties
The rate: 9.1¢ per manufactured track
What it’s for: Reproductions of recordings of your songs/
compositions – either physical or digital
Who pays it: Record labels, publishers or aggregators
Who gets the money: Songwriters/composers
money.futureofmusic.org/40-revenue-streams/
C
10. 3. Commissions
The rate: No standard rate
What it’s for: Payment for creating an original musical
composition
Who pays it: Ensemble, presenter, orchestra, dance
company or other entity
Who gets the money: Songwriter/composer
money.futureofmusic.org/40-revenue-streams/
C
11. 4. Public performance royalties
The rate: Varies according to performance/venue/
licensee
What it’s for: Generated when your songs are played
publicly on radio, TV, in clubs and restaurants
Who pays it: Broadcasters, venues, TV networks,
restaurants, webcasters, streaming music services
Who gets the money: Collected by ASCAP, BMI and
SESAC and split 50/50 between publisher and composer
money.futureofmusic.org/40-revenue-streams/
C
12. 5. Streaming mechanical royalty
The rate: 10.5% of revenue minus payments to PROs
What it’s for: Revenue generated when your
compositions are streamed on on-demand services
(Rhapsody, Spotify, Rdio)
Who pays it: Service pays publisher or mechanical
licensing agent
Who gets the money: Composer and publisher
money.futureofmusic.org/40-revenue-streams/
C
13. 6. Composing original works
for broadcast
The rate: No standard rate
What it’s for: Typically a commercial request to compose
an original jingle, soundtrack, score, or other musical
work
Who pays it: Film producer, TV or cable show, ad agency
Who gets the money: Songwriter/composer
money.futureofmusic.org/40-revenue-streams/
C
14. 7. Synch licenses
The rate: No standard rate
What it’s for: Typically licensing an existing work for use
in a movie, documentary, TV, video games, internet or a
commercial
Who pays it: Movie studio, ad agency, game company, etc.
Who gets the money: Songwriters/composers and
publishers share publishing money. (Recording artists and
labels get a separate fee for master use of sound recording)
money.futureofmusic.org/40-revenue-streams/
C
15. 8. Sheet music licenses or sales
The rate: No standard rate
What it’s for: Sale or licensed use of sheet music
Who pays it: Ensembles, schools, students, musicians.
Sometimes your fans if you’re selling sheet music directly
Who gets the money: Composer, sometimes via
publisher
money.futureofmusic.org/40-revenue-streams/
C
16. 9. Lyric display
The rate: A fee for term, or percent of gross revenue from
site (subscriptions or advertising revenue).
What it’s for: Revenue generated by the licensed display
of song lyrics.
Who pays it: Online lyric sites pay publishers.
Who gets the money: Composer, sometimes via
publisher
money.futureofmusic.org/40-revenue-streams/
C
17. 10. Ringtones
The rate: No standard rate
What it’s for: Generated from licensing your songs/
compositions for use as ringtones
Who pays it: Sprint, Verizon, AT&T, etc.
Who gets the money: Composer, sometimes via
publisher, label or Harry Fox
money.futureofmusic.org/40-revenue-streams/
C
18. 11. Songwriter awards programs
The rate: $100 and up
What it’s for: Awarded to writer members of any genre
whose performances are primarily in venues outside of
broadcast media
Who pays it: Both ASCAP and BMI Foundation have
programs
Who is eligible to apply: Composers/songwriters who
earn less than $25,000 in annual domestic performance
royalties money.futureofmusic.org/40-revenue-streams/
C
19. 12. Publisher settlements
The rate: Varies by lawsuit
What it’s for: Payments from publishers to writers for
litigation settlements
Who pays it: Entities that lost the lawsuit pay a fee to
publishers, which should pass it along to writers and
composers whose work was infringed
Who gets the money: Publishers and writers
money.futureofmusic.org/40-revenue-streams/
C
20. Sound recordings/recording artist
13. Record label advance
14. Record label support
15. Retail sales
16. Digital sales
17. Sales at shows
18. Interactive service payments
19. Digital performance royalties
20. Master use synch license
21. AARC royalties
22. Neighboring rights royalties
23. Film and Secondary Market
Fund royalties
24. Sound Recording Special
Payments Fund royalties
25. AFTRA Contingent Scale
payments
26. Label settlements
money.futureofmusic.org/40-revenue-streams/
RA
21. 13. Record label advance
The rate: No standard rate
What it’s for: Paid to artist as part of signing a record
deal, usually an advance on future record sales
Who pays it: Record label
Who gets the money: Recording artist
money.futureofmusic.org/40-revenue-streams/
RA
22. 14. Record label support
The rate: No standard rate
What it’s for: Money from label for recording or tour
support. Usually recoupable against album sales
Who pays it: Record label
Who gets the money: Recording artist
money.futureofmusic.org/40-revenue-streams/
RA
23. 15. Retail sales
The rate: Varies based on record label deal. Usually
10-15% of wholesale price, but some labels pay 50%.
What it’s for: Revenue generated from selling physical
music (CDs/vinyl) in retail stores or via mailorder
Who pays it: Retail stores pay distributor which pays
label, CD Baby for mailorder, or direct from mailorder
customers at your own website
Who gets the money: Recording artist
money.futureofmusic.org/40-revenue-streams/
RA
24. 16. Digital sales
The rate: Varies. Artists on label may get 10-15% of
wholesale price, but some labels pay 50%. Self-released
artists get a bigger percentage.
What it’s for: Revenue generated from selling music
digitally/online (iTunes, Amazon, Bandcamp, your own
site)
Who pays it: Retailers pay labels and aggregators like
CD Baby or TuneCore, or direct from customers at your
own website
money.futureofmusic.org/40-revenue-streams/
RA
25. 17. Sales at shows
The rate: Varies.
What it’s for: Revenue generated from selling recorded
music (CDs/vinyl/cassettes) at shows/live performances
Who pays it: Fans
Who gets the money: Recording artist
money.futureofmusic.org/40-revenue-streams/
RA
26. 18. Interactive service payments
The rate: About half a penny per play
What it’s for: Revenue generated when your sound
recordings are streamed on on-demand services
(Rhapsody, Spotify, Rdio)
Who pays it: Service pays label, or digital aggregator like
CD Baby/TuneCore
Who gets the money: Recording artist
money.futureofmusic.org/40-revenue-streams/
RA
27. 19. Digital performance royalties
The rate: Varies by platform, but rates are published
What it’s for: Revenue generated when your sound
recordings are played on internet radio, Sirius XM,
Pandora
Who pays it: Webcasters pay SoundExchange, which
then pays labels 50%, featured performers 45%,
background musicians and singers 5%
Who gets the money: Recording artist
money.futureofmusic.org/40-revenue-streams/
RA
28. 20. Master use synch license fees
The rate: No standard rate
What it’s for: Typically licensing an existing sound
recording for use in a movie, documentary, TV, video
games, internet or a commercial
Who pays it: Movie studio, ad agency, game company, etc.
Who gets the money: Recording artists and labels share a
fee for licensed use of sound recording
money.futureofmusic.org/40-revenue-streams/
RA
29. 21. AARC royalties
The rate: It’s complicated
What it’s for: Collected for digital recording of your
songs, foreign private copying levies, and foreign record
rental royalties
Who pays it: Audio hardware and blank CD
manufacturers pay AARC, which then pays performers
and record labels
Who gets the money: Recording artists and labels
money.futureofmusic.org/40-revenue-streams/
RA
30. 22. Neighboring rights royalties
The rate: Varies from country to country
What it’s for: Collected for the foreign performance of
your sound recordings
Who pays it: Foreign broadcasters pay this money to
foreign collection societies
Who gets the money: Recording artists and labels. Note
that collecting this money is very difficult because US
does not have reciprocal rights
money.futureofmusic.org/40-revenue-streams/
RA
31. 23. Film Musicians
Secondary Markets Fund
The rate: It’s complicated
What it’s for: Paid to performers on recordings made for,
or used in, film or TV
Who is eligible: Performers who have worked on
recording done under AFM collective bargaining
agreement
Who pays it: AFM collects these funds and distributes it
to performers who have credits on recording
money.futureofmusic.org/40-revenue-streams/
RA
32. 24. AFM/Sound Recording
Special Payments Fund
The rate: It’s complicated
What it’s for: Paid to performers on recordings based on
the sales of recorded music
Who is eligible: Performers who have worked on recording
done under AFM collective bargaining agreement
Who pays it: Record labels pay portion of sales revenues
to SPF, which then distributes it to performers who have
credits on recordings
money.futureofmusic.org/40-revenue-streams/
RA
33. 25. SAG-AFTRA contingent scale
The rate: It’s complicated
What it’s for: Payments paid to non-royalty artists when a
recording hits certain sales plateaus
Who is eligible: Non-royalty artists appearing on
recordings that reach certain sales levels in the US
Who pays it: Record labels pay portion of sales revenues
to SAG-AFTRA, which then distributes it to non-royalty
artists who have credits on recordings
money.futureofmusic.org/40-revenue-streams/
RA
34. 26. Label settlements
The rate: Varies by lawsuit
What it’s for: Payments from labels to recording artists
for litigation settlements (MP3.com, Limewire)
Who pays it: Entities that lost the lawsuit pay a fee to
record labels, which should pass it along to recording
artists whose work was infringed
Who gets the money: Recording artists and labels
money.futureofmusic.org/40-revenue-streams/
RA
35. Live performance/being a performer
27. Salary as part of an orchestra, ensemble or band
28. Live performance fee/guarantee
money.futureofmusic.org/40-revenue-streams/
P
Session or sideman work
29. Session work/freelancer in studio
30. Session work/freelancer on tour
31. AFM/AFTRA Fund
P
36. 27. Salary as member of orchestra,
band or ensemble
The rate: No standard rate, but consistent paycheck
What it’s for: Income earned as a salaried member of an
orchestra, band or ensemble
Who pays it: Orchestra, band or ensemble
Who gets the money: Performer
money.futureofmusic.org/40-revenue-streams/
P
37. 28. Show or performance fees
The rate: No standard rate, but either a guaranteed fee
and/or a percent of ticket sales
What it’s for: Revenue generated from playing in a live
setting (for non-salaried players).
Who pays it: Concert promoter, presenter or venue
Who gets the money: Performer
money.futureofmusic.org/40-revenue-streams/
P
38. 29. Session musician/studio fees
The rate: AFM scale, or rate set by freelancer and
producer
What it’s for: Payments to studio musicians/freelancers/
sideman for work in recording studio
Who pays it: Studio, producer, featured artist or record
label, depending on situation
Who gets the money: Session player
money.futureofmusic.org/40-revenue-streams/
P
39. 30. Session musician/live fees
The rate: AFM scale, or rate set by freelancer and
producer
What it’s for: Payments to studio musicians/freelancers/
sideman for work in a live setting/on tour
Who pays it: Featured artist, presenter, promoter or
record label, depending on situation
Who gets the money: Session player
money.futureofmusic.org/40-revenue-streams/
P
40. 31. AFM/SAG-AFTRA payments
The rate: It’s complicated
What it’s for: AFM/SAG-AFTRA Intellectual Property
Rights Distribution Fund distributes recording and
performance royalties to non-featured artists
Who pays it: Primarily, this is the 5% that
SoundExchange collects from digital broacasters that is
then paid to non-featured performers.
Who gets the money: Non-featured performers
money.futureofmusic.org/40-revenue-streams/
P
41. Knowledge of the craft
32. Teacher
33. Producer
34. Honoraria/speaker fees
money.futureofmusic.org/40-revenue-streams/
KC
42. 32. Music teacher
The rate: Varies/set by teacher
What it’s for: Payment for teaching your musical craft
Who pays it: Students, schools, conservatories,
foundations
Who gets the money: Music teacher or performer
money.futureofmusic.org/40-revenue-streams/
KC
43. 33. Producer
The rate: Varies. Could be a flat fee or “points” on a
project
What it’s for: Payment for producing another artist’s
work in the studio or in a live setting. Sometimes
producers also get writing credits for work in studio
Who pays it: Labels, featured artists, studios, presenters,
foundations, depending on situation
Who gets the money: Musician or producer
money.futureofmusic.org/40-revenue-streams/
KC
44. 34. Honoraria or speaker fees
The rate: Set by musician and host organization
What it’s for: Payment for conducting a lecture,
workshop or master class
Who pays it: School, conservatory, presenting
organization
Who gets the money: Musician
money.futureofmusic.org/40-revenue-streams/
KC
45. Your brand
35. Merchandise sales
36. Fan club subscriptions
37. YouTube partner program
38. Ad revenue
39. Persona licensing
40. Product endorsements
41. Acting
42. Fan funding
43. Sponsorship
44. Grants
money.futureofmusic.org/40-revenue-streams/
KC B
46. 35. Merchandise sales
The rate: Varies by item
What it’s for: Revenue generated from selling branded
merchandise (t-shirts, hoodies, posters, etc.)
Who pays it: Fans, sometimes retailers
Who gets the money: Musician or performer
money.futureofmusic.org/40-revenue-streams/
B
47. 36. Fan club
The rate: No standard rate, but usually an annual fee
What it’s for: Money directly from fans who are
subscribing to your fan club
Who pays it: Fans and supporters
Who gets the money: Musician or performer
money.futureofmusic.org/40-revenue-streams/
B
48. 37. YouTube partner program
The rate: Not disclosed
What it’s for: Shared advertising revenue generated by
plays on YouTube. Can also include plays of user-generated
content that uses your music, as identified by
YouTube’s Content ID program
Who pays it: Advertisers pay YouTube, which passes
along money to rightsholders
Who gets the money: Rightsholders: record labels,
artists money.futureofmusic.org/40-revenue-streams/
B
49. 38. Ad revenue
The rate: Varies
What it’s for: Miscellaneous income generated by your
website properties (click-thrus, commissions on Amazon
sales, etc.)
Who pays it: Advertisers, services that offer
commissions
Who gets the money: Musicians
money.futureofmusic.org/40-revenue-streams/
B
50. 39. Persona licensing
The rate: Varies
What it’s for: Payments from a brand that is licensing
your name or likeness (video games, comic books, etc)
Who pays it: Advertisers, video games, lifestyle brand
companies
Who gets the money: Musicians
money.futureofmusic.org/40-revenue-streams/
B
51. 40. Product endorsement
The rate: No standard. Sometimes payment is free
product instead of cash
What it’s for: Payments from a brand for you endorsing
or using their product
Who pays it: Music instrument manufacturers, beverage
companies, other companies
Who gets the money: Musicians
money.futureofmusic.org/40-revenue-streams/
B
52. 41. Acting
The rate: No standard rate
What it’s for: Payments for appearances in TV,
commercials, movies
Who pays it: Movie and TV producers
Who gets the money: Musicians
money.futureofmusic.org/40-revenue-streams/
B
53. 42. Fan funding
The rate: No standard rate
What it’s for: Money raised directly from fans to support
or pre-sell an upcoming recording project or tour
(Kickstarter, IndieGogo, Pledge Music)
Who pays it: Fans and supporters
Who gets the money: Musicians
money.futureofmusic.org/40-revenue-streams/
B
54. 43. Sponsorship
The rate: No standard rate
What it’s for: Corporate support for a tour, or for your
band/ensemble
Who pays it: Companies/corporations
Who gets the money: Musicians
money.futureofmusic.org/40-revenue-streams/
B
55. 44. Grants
The rate: No standard rate
What it’s for: Foundation or public arts grants to support
your work/project
Who pays it: Foundations, arts councils, endowments,
state or federal agencies
Who gets the money: Performers, composers,
ensembles, collaborations
money.futureofmusic.org/40-revenue-streams/
B
56. Producer and songwriter: gross income 2010-11
Songwriter/producer/
arranger fees
50%
PRO royalties
Synch licensing fees
Mechanical royalties
5%
Sheet music licensing
5%
10%
25%
Ringtone licensing
5%
Years active: 1994-present
Roles: Songwriter, producer,
arranger
Percent of time: 100%
Percent of income: 95%
Genres: R&B, hip hop and pop
2010 Activity: wrote about 450
songs to pitch to artists, participated
in 50 writing sessions, worked with
25 different recording artists
money.futureofmusic.org/case-studies/
57. Recording artist: gross income 2010-11
Publisher support
25%
Merchandise sales
10%
Live performance fees
25%
Record royalties
10%
Record label support
30%
Years active: 2006-present
Roles: Recording artist, composer,
performer, producer
Percent of time: 100%
Percent of income: 100%
Genres: indie rock, pop
2010-11 Activity: One recording,
50-100 live performances
money.futureofmusic.org/case-studies/
58. Jazz manager: gross income 2010-11
Teaching
10%
Composer commission
7%
CD sales on the road
6%
Live performance fees
62%
Record label advance
7%
PRO royalties
5%
Session musician
2%
Years active: clients range from
fewer than 10 years, 10-20 years,
30-40 years
Roles: Recording artist, composer/
arranger, performer, band leader,
producer, side musician, educator
Percent of time: 100%
Percent of income: 100%
Genres: jazz
Typical 2010 Activity: One
recording, 40 live performances
money.futureofmusic.org/case-studies/
59. Nashville session player: gross income 2010-11
Years active: 1974-present
Roles: Performer, session musician,
producer, bandleader, songwriter,
journalist, label owner
Percent of time: 100%
Percent of income: 100%
Genres: country, bluegrass, rock,
jazz
2010-11 Activity: 1 album as leader,
produced 2 albums, 30-40 recording
sessions, 40 live performances
Record sales
11%
Session player: studio
30%
Mechanicals and
PRO royalties 3%
AFM/AFTRA Fund
4%
SR Special Payments Fund
AFM Secondary Markets Fund
4%
6%
Producer
22%
Live performances
17%
Digital performance
royalties 3%
money.futureofmusic.org/case-studies/
60. Classical performer: gross income 2010-11
Live performance fees:
City Opera salary
46%
AFM/AFTRA Fund
1%
Live performance fees:
City Ballet sub
Freelance performance fees
AFM Secondary
Markets Fund
7%
14%
28%
Session player: studio
fees for film music
3%
Teaching
1%
Years active: 1979-present
Roles: Performer, session musician,
teacher
Percent of time: 100%
Percent of income: 100%
Genres: classical
2010 Activity: 5-10 recording
sessions, 150-200 live performances
money.futureofmusic.org/case-studies/
61. Freelance violinist: gross income 2012
Sideman:
live, in studio, on TV
71%
Administrator/Curator
25%
TV Residuals
1%
Live performance
(Leader)
1%
Mechanical royalties
1%
Sound Recordings
Special Payments Fund
1%
Years active: 2001-present
Roles: Performer, producer, session
musician/freelancer, composer
Percent of time: 30%
Percent of income: 18%
Genres: contemporary classical,
jazz, indie, americana
2012 Activity: 6 recordings,
75 shows with 12 different groups
money.futureofmusic.org/case-studies/
62. Retired indie rocker: gross income 2012
Recording
sales royalties
52%
Digital
performance
royalties
48%
Years active: 1990-1997
Roles: Performer, recording artist,
songwriter
Percent of time (now): 5%
Percent of income: 3%
Genres: indie rock
2012 Activity: collected royalties on
4 albums
money.futureofmusic.org/case-studies/
63. Indie rock composer/performer: gross income
Live
Performance
30.5%
Salary
29.8%
CD Sales on
the Road
12.1%
Publishing
Royalties
9.4%
PRO
Royalties
6.2%
Publishing
Advance
5.6%
Record
Sales
3.5%
TV
Royalties
0.4%
Producer
0.7%
Session
Musician
1.5%
Years active: 1999-present
Roles: Performer, composer,
session/sideman work
Percent of time: 100%
Percent of income: 100%
Genres: rock, world, avant, folk rock
money.futureofmusic.org/case-studies/
64. Chamber music ensemble: gross income 2002-10
Years active: 1997- present
Roles: Performer, session/sideman
work
Percent of time: 100%
Percent of income: 100%
Genres: classical, new music,
contemporary jazz
money.futureofmusic.org/case-studies/
65. Jazz bandleader: gross income 2001-11
Live
Performance
77.8%
Grants and
Awards
7.5%
Record Label
Advance
5.0%
Commission
2.6%
Sideman
Record Sales 1.8%
1.7%
PRO Royalties
0.8%
Other
2.8%
Years active: 1995- present
Roles: Composer, performer,
bandleader, session/sideman work,
teacher
Percent of time: 100%
Percent of income: 100%
Genres: jazz, classical, hip hop
money.futureofmusic.org/case-studies/
66. Salaried orchestra player: gross income 2001-11
Years active: 2000- present
Roles: Performer, session/sideman
work
Percent of time: 100%
Percent of income: 100%
Genres: classical
Salary:
orchestra
64.8%
Freelance: live
27.3%
Knowledge of
Craft
3.1%
Freelance:
studio
Prize Money 1.9%
1.8%
Recording
Income
0.8%
Radio
Royalties
0.3%
money.futureofmusic.org/case-studies/
67. Sideman:
Performance
32.4%
Live Performance
15.0%
Administrator
14.9%
Grant
11.6%
Teaching
CD Sales on
the Road
0.4%
Recording
0.9%
PRO Royalties
Sideman: 10.5%
Performance +
Organizer
8.0%
2.1%
Sideman:
Recording
4.3%
Jazz sideman: gross income 2004-10
Years active: 1999- present
Roles: Performer, composer,
bandleader, session/sideman work,
administrator, consultant, teacher
Percent of time: 100%
Percent of income: 100%
Genres: jazz, contemporary
classical, world music
money.futureofmusic.org/case-studies/
68. Revenue streams have
become atomized.
More important than ever
that creators understand
how the money flows back
to them as songwriters and
recording artists.
Mechanical royalties
Streaming mechanicals
Mechanicals for cloud storage, lockers
Commissions
Composing original works for broadcast
Sheet music
Lyric display
Retail sales
Sales at shows
Digital downloads
Cloud storage payments
Digital performance royalties
Interactive service payments
YouTube partner program
Synchs
Performances
Session work
Merchandise
Persona licensing
Fan funding
Sponsorships
Grants
69. Resources
Artist Revenue Streams
Research
money.futureofmusic.org
42 Revenue Streams
Revenue Streams: Existing,
Expanded, New
money.futureofmusic.org/40-revenue-streams/ money.futureofmusic.org/revenue-streams-existing-
expanded-new/
70. Resources
Music and How the Money
Flows infographic
HOW THE MONEY
FLOWS BACK TO
songwriters, artists,
publishers & labels
How are musicians and songwriters compensated when
their music is played on the radio, sold on digital platforms,
broadcast radio terrestrial broadcast of any AM or FM station
webcast, or streamed on interactive services?
C PROs ASCAP, BMI, SESAC
songwriter
publisher
performance of composition
In the US, terrestrial broadcasters
do not pay performers or
sound recording copyright owners
performance of sound recording
performance of composition
For digital stores and on-demand streams,
* At the end of 2012, Universal Music
Publishing Group and Sony/ATV-EMI
pulled their digital rights from ASCAP
and BMI, seeking to get a higher rate
by negotiating directly with webcasters.
how the money flows depends on what entity negotiated the license.
For record labels that have a direct deal with services:
digital sale
iTunes • Amazon
Google Play • eMusic
SR record label
publisher songwriter
mechanical reproduction of composition
artist/band*
sale of sound recording
9.1¢
/track
10-50%
* Rate of payment from label to artist/band
depends on terms of contract, and whether
digital sale is classified as a sale or a license.
0.5% Sound Recording
Special Payments Fund #
musicians
# Labels contribute a small percent of
sound recording sales income. If
recording was made under the AFM’s
recording agreement, payments are
disbursed to musicians who were paid
scale wages during the recording session.
C PROs ASCAP, BMI, SESAC
futureofmusic.C UMPG and Sony ATV-EMI* org/moneyflow
* At the end of 2012, Universal Music
For record labels that are represented by a digital aggregator/distributor:
SR aggregator
mechanical reproduction of composition
artist/band*
sale of sound recording
publisher songwriter
IODA/The Orchard
record label
9.1¢
/track
@50%
85%
AFM & SAG-AFTRA Fund
webcast
or digital performance
Pandora • Sirius XM • NPR streaming
any webcast stations
C PROs ASCAP, BMI, SESAC*
SR SoundExchange
songwriter
publisher
record label
performer(s)
50%
45%
5%
performance of composition
digital performance of sound recording background singers
and musicians
UMPG and Sony ATV-EMI* UMPG and Sony ATV-EMI
C songwriters
songwriter
songwriter
on-demand
stream
Spotify • Rdio • Rhapsody
SR record label
artist/band*
streaming mechanical royalty
licensed use of sound recording 10-50%
10.5%
minus payment
to PROs
publisher
performance of composition
publishers
Publishing Group and Sony/ATV-EMI
pulled their digital rights from ASCAP
and BMI, seeking to get a higher rate
by negotiating directly with services.
UMPG and Sony ATV-EMI
songwriters
PROs ASCAP, BMI, SESAC
songwriter
publisher
on-demand
C
* Rate of payment from label to
artist/band depends on terms of
contract, and whether digital sale
is classified as a sale or a license.
* Rate of payment from label to
artist/band depends on terms of
contract, and whether digital sale
is classified as a sale or a license.
performance of composition
big labels
indie labels
For radio and radio-like services,
blanket licenses determine who gets paid, and how much.
digital sale
iTunes • Amazon
Google Play • eMusic
New Business Models Digital Distribution
and how to participate
futureofmusic.org/nbm futureofmusic.org/dd
71. For composers and publishers
www.ascap.com www.bmi.com
www.sesac.com www.harryfox.com
72. For performers and sound recording
copyright owners
www.soundexchange.com