The State Of "the Biz" |
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Mar 19 2014, 10:52 AM
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QUOTE (Todd Simpson @ Mar 19 2014, 12:30 AM)  is this kind of article a bit too abstract or outside of everyone interests? I have noticed that these sorts of posts generate fairly small response numbers. Where my more lighter/sillier posts seem to generate wads of replies. I'm interested Todd but I agree abstract, complicated and difficult posts don't get much response. People here don't tend to respond to much to that I say either for what ever reason. I was sent an article yesterday about the fall off in sales of physical CDs in Japan that mirror your post. It also does a bit more breakdown of streaming vs dgital download by some countries. I'll try and dig it out if anyone is interested. QUOTE (Todd Simpson @ Mar 19 2014, 01:22 AM) Sadly it works in favor of everyone BUT the musician in general. You get .0001 cents for each play or thereabouts ( on services like spotify). So it takes a sick number of plays to make any real money. ... 100%. To back this up and repeat something I said elsewhere - Daft Punk had a massive global hit last year. It was streamed well over 200 Million times and geneated a little under $18,000 income from streaming - that's about 0.00009 cents per stream. -------------------- Get your music professionally mastered by anl AES registered Mastering Engineer. Contact me for Audio Mastering Services and Advice and visit our website www.miromastering.com
Be friends on facebook with us here. We use professional, mastering grade hardware in our mastering studo. Our hardware includes: Cranesong Avocet II Monitor Controller, Dangerous Music Liasion Insert Hardware Router, ATC SCM Pro Monitors, Lavry Black DA11, Prism Orpheus ADC/DAC, Gyratec Gyraf XIV Parallel Passive Mastering EQ, Great River MAQ 2NV Mastering EQ, Kush Clariphonic Parallel EQ Shelf, Maselec MLA-2 Mastering Compressor, API 2500 Mastering Compressor, Eventide Eclipse Reverb/Echo. |
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Mar 19 2014, 02:50 PM
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-------------------- Get your music professionally mastered by anl AES registered Mastering Engineer. Contact me for Audio Mastering Services and Advice and visit our website www.miromastering.com
Be friends on facebook with us here. We use professional, mastering grade hardware in our mastering studo. Our hardware includes: Cranesong Avocet II Monitor Controller, Dangerous Music Liasion Insert Hardware Router, ATC SCM Pro Monitors, Lavry Black DA11, Prism Orpheus ADC/DAC, Gyratec Gyraf XIV Parallel Passive Mastering EQ, Great River MAQ 2NV Mastering EQ, Kush Clariphonic Parallel EQ Shelf, Maselec MLA-2 Mastering Compressor, API 2500 Mastering Compressor, Eventide Eclipse Reverb/Echo. |
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Mar 19 2014, 04:15 PM
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I think most folks just don't know what to say about it. At this point it is what it is.
Most everybody was blindsided by the admitted ease of use as well as the novelty of downloading and streaming and now that the dust has settled it's like, "oh, you mean nobody actually makes any money for selling the music now". What acts as the record co./distributor these days - Apple, Youtube, Pandora, Spotify, etc. - well, they basically let us all cut our own throats (via our own egos - the need for recognition) by thinking that giving away our art (and potential livelihood) was a noble and good business move. The big boys let the naive kids dig their own graves - as usual. Cest la vie. I make my living by offering a service - playing 'live', contracting gigs and doing sessions. Fee for service. Occasionally I get some re-use/royalty money. For now that's the way it is. This post has been edited by klasaine: Mar 19 2014, 05:02 PM -------------------- - Ken Lasaine
https://soundcloud.com/klasaine2/foolin-the-clouds https://soundcloud.com/klasaine2/surfin-at-the-country-hop Soundcloud assorted ... https://soundcloud.com/klasaine3 New record ... http://www.cdbaby.com/cd/kenlasaine Solo Guitar ... https://www.youtube.com/playlist?list=PLXZh...5iIdO2tpgtj25Ke Stuff I'm on ... https://www.youtube.com/playlist?list=PLXZh...b-dhb-4B0KgRY-d |
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Mar 19 2014, 06:31 PM
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He had some good points.
Robb Flynn: “Music Isn’t Important Anymore” http://www.metalhammer.co.uk/news/robb-fly...ortant-anymore/ |
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"if I make a post about donuts, people I haven't heard from in YEARS......" 
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Mar 20 2014, 10:59 AM
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QUOTE (wrk @ Mar 20 2014, 10:05 AM) Who is actually adding all the music on these streaming services like Spotify, Deezer, etc ? Can these services freely list everything they want as long they pay “royalties”? Are the royalty values per play self-defined by these services? To be considered as a legal service there must be some laws somehow? I have no knowledge how the regulations are, but i find this a bit weird that successful musicians/bands, like in Tony’s “Daft Punk” example, does not seem to have any power to list or unlist their music or negotiate a more realistic royalty value. Does anybody have some insights how this works? There are possibly several issues here. 1/ you will only get a royalty if your release has a proper ISRC embedded in to it. Without the ISRC the broadcaster/streamer doesn't know who to send the royalty to. This includes streaming services. 2/ if you are on a label you may well have to pay back any advance made to you before you receive any royalty. 3/ many people use an 'aggregator' or 'digital (re)distribution' company to place their product with in-line stores and streamers. Most/all aggregators say that they can apply an ISRC to your product if there isn't one already there. There is a well known, major aggregator who makes such a claim but for a long time did not embed a proper international code - they used their own instead. So you think you have an ISRC, the aggregator tells you that you have but you haven't got one that will be recognised as such. 4/ with some/most/all aggregators you will receive your royalty if and when it exceeds a given amount. Keep in mind that one single stream is worth 0.0001 cent many will only send you a royalty cheque when it is finacially cost effective to them to do so. If that breakeven point is say 40 c you need to have had 400,000 streams. ------------- with royalty amounts it's at least partly historic that the royalty rate is low as it tends to be set by the recording label for the sale of a physical or digital product. Any artist can try and negotiate with their label to increase the royalty that they recieve per sale but unless you are a major name the chance of the label listening is zilch. Broadcast royalties are negotiated between the broadcast agency of a country and a trade body that represents labels etc. With a legal, traditional broadcaster such as a national radio station the station should collect and provide broadcast logs that aggregates what tracks they have played and by whom etc. and send these to the appropriate PRS with the required fee. The PRS then distributes the royalty. Note - broadcasters nowadays need the ISRC to assign this properly. There are many broadcasters/streamers who do not log their broadcasts and who not surprisingly do not file anything with the appropriate authorty for roaylty payments. Some do this out of ignornace, some because they can't be bothered and some because they are broadcasting unlawfully. For digital streaming it's a little bit different. The label normally agrees a fixed royalty fee with a streaming service - i.e. they may negotiate a fee of $20,000 for 20 million streams of any of their labels tracks. Major labels are more able to negotiate a relatively larger streaming fee than an individual or small indie label. The label then decides how to allocate that and usually they will give the vast majority of it to their major acts. If you are a tiny unknown on their label you may get zilch even if you have loads of streams becuase the label has allocated the money to the major name first. ------------------------ Anyway as no-one will have read that the only thing you need to kow is - DONUTS! -------------------- Get your music professionally mastered by anl AES registered Mastering Engineer. Contact me for Audio Mastering Services and Advice and visit our website www.miromastering.com
Be friends on facebook with us here. We use professional, mastering grade hardware in our mastering studo. Our hardware includes: Cranesong Avocet II Monitor Controller, Dangerous Music Liasion Insert Hardware Router, ATC SCM Pro Monitors, Lavry Black DA11, Prism Orpheus ADC/DAC, Gyratec Gyraf XIV Parallel Passive Mastering EQ, Great River MAQ 2NV Mastering EQ, Kush Clariphonic Parallel EQ Shelf, Maselec MLA-2 Mastering Compressor, API 2500 Mastering Compressor, Eventide Eclipse Reverb/Echo. |
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Mar 20 2014, 03:47 PM
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QUOTE (wrk @ Mar 20 2014, 04:14 AM) i don't see the sense for successful and established artists to distribute their music via streaming ... am i missing something? At this point 'streaming' is advertisement (and ego stroking) for the bands' or musicians' live gigs, tours and merchandise. As well as maybe a movie producer or music supervisor who will want to license a tune for a film, TV show or commercial. I read these threads. Just as an aside ... Paul McCartney and Yoko Ono successfully negotiated the highest itunes royalty rates (for Beatle tunes). This post has been edited by klasaine: Mar 20 2014, 03:48 PM -------------------- - Ken Lasaine
https://soundcloud.com/klasaine2/foolin-the-clouds https://soundcloud.com/klasaine2/surfin-at-the-country-hop Soundcloud assorted ... https://soundcloud.com/klasaine3 New record ... http://www.cdbaby.com/cd/kenlasaine Solo Guitar ... https://www.youtube.com/playlist?list=PLXZh...5iIdO2tpgtj25Ke Stuff I'm on ... https://www.youtube.com/playlist?list=PLXZh...b-dhb-4B0KgRY-d |
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