Why You're Not Getting Paid The Streaming Money You Earned (And How To Get It) | SF MusicTech 2014
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- เผยแพร่เมื่อ 26 ก.ย. 2024
- Jeff Price - founder of Audiam, TuneCore, and spinART Records - spoke at SF MusicTech Summit about the ins-and-outs of music publishing. Price dives into the nuanced arena of copyright and how the Right of Reproduction has changed with the evolving music industry, specifically the introduction of interactive music streaming services. Get paid the money you are owed with Price’s in depth guidance.
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Wow.. No you are not boring sir.. You should become mentor for musicians.
Yummy !!!!
I need you to work with me you smart my name is Gaby 2403162453
I have my own songs that I need to make money off of and I need help to get it done. I'm my ready to be picked up by a record label and become a star and get paid my music is hot and love bye every one
Call me at 334-558-5928 my name is Oscar Jerome Webster and I have recorded my own songs and songs of others. I want you to make myself and you money. I need you to call me back and let me know what you think.
Indeed
This is by far the best thing on youtube.
He is literally giving us EVERYTHING we need to know. My only wish is that this was longer.
it actually is. They cut a part out in the beginning.
NONE of the streaming sites pay on the 20th of the following month. Most pay 3-4 months late. Beats paid me 10 months late.
Dilemma Beats count your self lucky I know one of the biggest bands ever and there getting paid at the end of the year ,so they get to earn interest off your money for a year before they pay you.
Not enough people know to sue. Im sure it could easily be a class action lawsuit
Chris Holland what band is that?
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I watched this 2 years ago and didn't understand a word he was saying. Now in 2019 which I gain more knowledge I understand 90% of what he is saying. Thank you sir. Very informative
What books or courses would you recommend on this topic?
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To simplify things a lil bit for you. Let me start by explaining. You NEED to understand 4 key important things. What is a 1. PRO, 2. Admin Publishing Company, 3 Distributor and 4. ISRC
I'll try my best top explain to you the best way I can in simple English, because these theory can get confusing pretty fast.
Let me start with the last one and work my way up, because it is THE MOST important thing you ever need to both protect your sound and to track it all over the world.
#4. ISRC (International Standard Recording Code): is a must have. A 12 digit code consisting of letters and numbers. If you are a independent artist you can have this 12 digit code assign to you. By sending a request to a legit company that has the authority to assign this to you or you can have one assign to you when you are about to release your song. You also have a bar code but I'll leave this one out for now otherwise it will get to complicated. Just know that the ISRC is a personal code assign to your legal name and a bar code more likely to your product. No one other then yourself, your publisher and streaming company shall have this ISRC. This code will be embedded in your music/song/track. It is your individual song's own ID. You only assign 1 code per song. After reading this you will understand as soon as you see one of these code what I'm talking about, don't worry!! If you are not a independent artist, it's not a problem. Your producer or studio or in house publisher will assign one to the recordings. Just know that you are NOT in control of your own sound. THEY will keep all tracks for and you can only and hope they are sincere.
#3. Distributor: These guys have connections all over the internet to get your releases into the online stores. Some can even get your releases in local (physical) cd stores and most will only do digital delivery. There are so many options out there. By delivering I also mean streaming platforms such as Spotify, Itunes, Tidal etc etc. These can be seen as both stores and "radio stations" with a skip button, if that makes any sense. So these platforms will hold your releases for the mass to find and play your songs any time they like but you can only get on these streaming platforms by using a distributor. How to pick the best distributor is really up to your budget, your amount of time you'll be releasing. Each distributor has their own fees and services. I'll suggest you do some research. Check for online reviews about the pro's and cons and at last follow your gut feeling. You can have more then one. You pay you decide, just read their terms and conditions so you don't deliver the same song to different distributor. That's a bad look for yourself.
#2. Admin Publishing Company: A better way to explain these guys job is. They are the internet police for music. with their data base they are able to track down online stores an digital platforms to pay you a money which is called mechanical royalties. Here comes the ISRC in play. This code which is unique to you which is unique to the sound recording apply/embedded to is going to help them track down your sound and make sure you get payed. Why mechanical royalties? Not to go too much in depth. It is the fact that these platforms whether it's a online store or streaming service, are renting your music for them to put on their server to get costumer which are YOUR FANS to drive traffic to their site so they can sell advertisement to company and gain money off of your creativity. Which is your/our/we/mine music. Can you follow still? So this mechanical royalty is obligated to be payed by them to you. It' the law that they HAVE to follow. So there comes the music police which are the administrate Publishing company. I forgot to mention. If you are not in control of your ISRC. No problem. Some Admin Publishing Company allows you to upload mp3 files to their system so they can then track down each and every recognizable sound of your recordings. Know that having a admin company is a separate entity and you have to pay a separate fee for their service. Some won't charge any money but will take a percentage off your mechanical royalties.
#1. PRO: Performance Right Organisations. This last one is less complicated to understand. You should assign to one in your own country. It's easier to get paid. Your money doesn't have to go around the world before it reaches your bank account. These PRO organisations pays you your royalties based on radio and tv airplay's, and or performances. Any one and I mean Any one who uses your music needs to pay up. Radio stations? You deserve money. TV Commercials or any other programming? You deserve money. Someone performs your song? You deserve money. A dj spins your record (song)? You deserve money. The word PERFORMANCE don't stands for nothing. You deserve money for writing and composing. If you do both? More money for you. So having a PRO, you have to first apply to one and start filling in your works as either a writer of the song (lyrics) or writer of the composition (music melody). they DO NOT collect royalties money from streaming services. For this you need #2. PRO's only pays you royalties based on your ownership. Your creativity. Your hard work. You'll have to provide to them your personal data and bank account. So you can get paid. One important key factor. When writing your personal info's in the recording metadata. Make sure you use both your FULL LEGAL NAME in the writer and composing area. Otherwise #2 and #1 CANNOT WRITE YOU A CHECK. The bank does not recognize artist by their artist name. Me walking to the bank with a check saying Don Classico will leave me homeless with no money to buy food. feel me? LOL
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Support my channel if you like. Peace
Don Classico Wow, you broke that down really well. BMI is a performance rights organization right?
@@savonjr16 Yes
bless
This is why block chain technology is so important in the future for music
Can you elaborate? This comment made me very curious
@CountryGravy Make sure to check out Audius too!
Im not sure what block chain technology is
Every artist who isn't up on the legalities of the music industry and music distribution should watch this video at least once a day/night.
Funny you should say that, I was pursuing a degree in Music Business back in University and oddly enough, in the applicable classes, I was the only "Artist." There weren't even any "Producers." Everyone else wanted to be Managers (Mostly Managers), Publishers, Label Executives, Music Lawyers... a think there were a few people wanting to start a venue. In any case, it kind of blew my mind and was a huge wake-up call as to why the industry is in such disarray when it comes to artists. Especially considering some of the things they were teaching in those classes.
For instance, in one class, the instructor made a point that "Oh, this is for all of you Managers... a good way to extract an extra 5% or so from your clients, is to make it out to as many shows as you can by them. So if they have a tour with 36 shows and you show up to twelve of them, they're going to think that you're at 'Almost every show' and therefore hold them as a priority, even though you have other clients. So when it comes to re-negotiating their payment to you, you can squeeze out an extra 5% and it'll sound reasonable to them because you'd always been there for them and they've seen you there, seemingly always grinding away on their behalf. All the while, those idiots (Yes, he actually said "Those idiots") were paying for your flights and accommodations to make it to those concerts in the first place. So you're able to negotiate MORE money from them, on their dime, all along." I don't recall if this is exactly what he'd said (Save for the 'Those idiots' part) though it was definitely something akin to this.
Anthony Sforza wow that’s good to know, that’s how manipulative the music industry can be
@@donnig5053
Oh man... I can write an entire book on that subject alone. In fact, many people have. Case in point, say you the artist gets a 10% royalty on your albums sold. Thing is, so much stuff comes out of that 10%. Like the Producer's 3%, 1/2 of the budget for music videos, and among other things a little guy called "Breakage" which is to account for the likelihood that 10% of items shipped (Be they vinyl, tapes, CDs, etc) are subject to shoddy shipping practices and end up at the retailer in bad shape and therefore unable to sell. The kicker? This 10% charged to the artist is even applied for DOWNLOADS as well. The absolute kicker? All of this was BEFORE the 360 Deal.
Then throw in how what little percentage left goes 15% to the manager (Some have gotten 20%), 10% to the lawyer, another 10% to the Business Manager... trickle trickle, taxes, on and on. Then... all of this is AFTER you pay any and all debt to the label. So if someone didn't make enough in which to do so, then they just go even deeper into debt with them. So if one is a new artist, they'll front money in the form of an Advance, to sublimate an income while they're making an album (Where a smart artist would use that to pay for their album and not a bunch of "Stuff" but I digress) but then there's also other recording fees, videos before the sales come in, promotional materials (Like the 30' ad for Marilyn Manson in Times Square... Marilyn Manson paid for that) etc etc. Yet people wonder why artists who go Diamond (10,000,000 sold in the US alone) such as Toni Braxton or TLC (WHo then had to split things three ways at the bottom) end up filing for Bankruptcy almost immediately afterward.
Anthony Sforza so what’s the downsides of going independent
@@donnig5053
Jeez... that's such an expansive question. Haha, no, I'm not "Behind you with the rent."
Brace yourself... though you DID ask for it.
1. Ok, here's the thing, going independent definitely has benefits, kind of like when MC Hammer was first approached by Atlantic Records, he turned them down. Namely, as it would only take him selling 50,000 albums out of the back of his car in which to earn as much money as going Platinum with them. So he sent them packing until they came back with a better deal. I know, it's totally weird to consider that when thinking about what ultimately happened to him, though I'm digressing.
2. However, there are some drawbacks. First of which is that all those hats the people wear in the process of bringing your music to market, the Label Executive, the A&R, the Distributor, the Manager, the Publicist, Booking Agent, Business Manager, etc etc etc... those are your hats, now. Which isn't too bad for someone with an affinity for such fare, though every second spent marketing is a second NOT spent making music or practicing, tightening, etc etc. Of course, there are TH-cam music content makers who boff at this concept in favor of doing the whole thing yourself and say "Of course this is how things are, 85% of your time/money should be spent marketing, grind grind grind..." Sure, people can be paid to do those things to some good results, though that will have to come out of their pocket outright, if not doing it themselves. Not to say any of this is bad, but it's definitely something one should weigh up for themselves.
3. That's also taking into consideration the "staff" for your project. A label has access to top producers, engineers, mixers, masterers, etc. An independent artist can most definitely find highly talented individuals for these roles, though a lot of the balance and success (In terms of marketable quality) of said project comes down to the talent of these individuals... and talent COSTS. There's no advance to help the independent artist out and they have to pay themselves. Fortunately, there are platinum selling Mixers/Masterers who can work remotely via dropbox or such for... fair rates, so to speak. Fair rates considering their pedigree, though it's still somewhat expensive for the average independent artist. My point is, where is all that money going to come from?
4. Something else to consider... is that if one goes the Independent route, you won't have the "Reach" a label does. They pay a LOT of money (Much of which is recouped by the artist, mind you) to top marketers and advertisers. For the artists they want to promote, anyhow (Loooong post on that one) Sorry to say, their pockets are a LOT deeper than an independent artist's. So are their connections to the individuals who would have the best results with said money. Now... going back to the MC Hammer example, if you can make as much selling thing like 50,000 (Or hell, maybe even less) and grossing the same amount as if you were to go Platinum (I'm almost 100% sure record deals are considerably worse than in 1988... not counting the 360 Deals), then who wins? You do. It's a lot easier in so many ways to move 50,000 (Not easy... easier) than 1,000,000, with the added benefit of not being beholden to a label. Especially since if your album doesn't sell, the Label (Who's fucking job it is to promote/market/sell it and what they get paid 85+% of the proceeds for) will drop you and then BLAME YOU for its low sales! "It's because the album was terrible and you're an unmarketable hack... not at all because we dragged our feet on it and didn't do shit to promote it. Oh, but you still owe us all that money."
5. Remember that Dido chick? Her album No Angel had been out for almost two years before anyone gave a shit. It was the most licensed album in history (9 of the 12 songs were used in over 100 commercials, synced, sampled, etc) up to that point and nobody knew who she was.. until her song Thank You was sampled by Eminem for Stan. Then... THEN the label (Arista) started pushing her because now there was an interest. Or Jewel, whose album Pieces of You was out for the same amount of time and even being in a relationship with Sean Penn (Who directed her first video, a different version of You Were Meant for Me) and still, nobody knew who she was. Until much later, when Who Will Save Your Soul came out... THEN the label (Atlantic) started moving her. Again, I'm digressing my ass off, though.
6. To coattail off of the fourth paragraph (Actually why I numbered them)... sure, you could stand to make more money than with a label (Possibly) but is that what most Independent artists want? Sure. Probably. Or is it fame? An Independent artist can have the checks rolling in all day long, but chances are, they're not going to be playing to sold out shows across the country or on euro tours, etc etc. On tour with other artists they love and respect. This is why so many artists, despite being told (Or even shown) that if they stick metal into a light socket, they'll get zapped, yet respond "Yes!!!" Be forewarned though, that fame comes with a LOT of money being run down a garbage disposal. Remember Marilyn Manson's 30' advert in Times Square? How much do you think THAT cost?
7. Here's the real kick in the balls. Spotify. So, SO MANY of the Independent artists I come across think this is the way to a career in music. Yes and no. Will people hear their music? Yes. Will they make a living as a result? Define "Make a living." To put this in perspective... yes, everyone got so pissed at Taylor Swift and Adele for not wanting to be featured on such platforms because they'd lose money. "Fuck them, they already have millions" was the general consensus in reaction to their statements. Here's the thing though, if they got $1 per album sold and it goes Platinum, that's (To keep things simple... for me, totally not a mathematician) a million dollars, right? Now, say instead of buying their album, a million people listen to the hit song from the album once on Spotify, how much is that? No shit, like $10,000 (At least at the time that whole "scandal" was going down, it may be better now... or worse, I don't know, I haven't checked into it recently). Huge difference, that one. Which they have to then split with their Publisher, so they get $5,000. See why they'd be upset? I mean, can you imagine spending a year writing, practicing and then recording an album... only to make $5,000? One would have better luck flipping burgers at Wendy's. It doesn't even come close to offsetting the cost of making the album, much less your life during that year. Sure, you can get some recognition from Spotify, like if you sound like Bruno Mars and your song somehow finds its way onto a playlist of songs of his. Though let's be totally honest, if people find you on Spotify, they know you're on Spotify and most likely wouldn't go and buy your album. Some will, that's a given, but most won't.
8. Adversely, in conjunction with all that I've mentioned above, an Independent artist would have all rights over their music and any money they earn. Especially with the 360 Deal being so prevalent nowadays. So all of their touring money, merch, if they act in a movie/show, etc etc. However, again, back to the sixth paragraph... there most likely won't be thousands of people in the stands. Yes, one would perhaps make more playing to 1,200 people as an Independent artist than 5,000 as a Label one, yet... 5,000+ in the audience is pretty fucking intoxicating. Yes yes, I know that there are people like Lady Gaga, Rihanna or Maroon 5 who sell out Arenas. I'm speaking more to someone just breaking out, so to speak.
Yea, this is it off the top of my head... yes, this novella of information was "Off the top of my head." Haha, I think about this stuff a LOT, so there's definitely that.
Wow, I've learned a lot of new things from this video. Thank you Jeff and GrammyPro for sharing this!
Hey I need your help,how you get your music out.what distributor you use.plzzz tell me.
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Wow this guy is like a hero. He knows the legal system quite well.
Why couldn’t my music production teacher teach like this -.- he’s practical but super effective
ive recieved 330 thousand streams on spotify ALONE since May this year, its now 6 months later and ive recieved 90 dollars from distrokid!!
that´s messed up man...Distrokid is shady af
Having same problems with Distrokid in regards to Napster signed up with publishing too audiam, prs etc they still hold the majority of your royalty's for months on end then only pay you a fraction complain then they pay you a little at a time. The industry is too corrupt and unregulated that's the problem needs government intervention around the world alot of tax money will be raised for them.
@@ifroxxx1226 no its not , Spotify pays like shit.
DistroKid super shady they did me the same way I had a song with thousands of plays only got $3. This why I’m heavy in the merch game bc the streams are so fickled
I’m still here in 2020 corona virus days listening to this important lectures.
Im not even in thr music industry or software i just watched this whole thing because he was just so passionate and charismatic
JEFF PRICE, YOU ARE AMAAAAZING!!! That was the most comprehensive informational talk I've ever heard about how screwed up this country is when it comes to artist rights and royalties issues!!! you are pissed off and you and we should all be !!!! WTF IS WRONG WITH THE USA??
Well I mean the bigger problem is that anyone can just start a company like Spotify and make it look good and set it up to collect money. WITHOUT setting up a way to PAY money. And that's the major issue. Even the 3 majors that are getting the most are still paid late af just because.
Great talk Jeff Price! So I'm not alone in feeling like I should be making a little bit of money for all of my songs (and I've never gotten paid from TH-cam, Spotify, Soundcloud, etc...not once)
Have you gotten paid now?
@@chuckytherapper Hey Chucky the Rapper, yes since 4 years ago I've begun to earn a little something on a regular basis from CD Baby. Nothing groundbreaking but makes me feel like I'm glad I invested in my music. How are things going on your end?
Jeff is a great public speaker and a very strong character in the music industry. Great talk!
Basically, the submission of our music ‘for sale’ is to make someone else rich.
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yeah they are literally telling us they'll pay us. Then they get all the money first and hold onto it, Which collects interest, and then when they are good and ready they hire a third party like fox or music reports to figure out who gets paid what.
So if artists don’t copyright their own music , the distributors take MAJORITY of royalties and artist are left with chump change ?
Once you create it, it’s copyrighted. They must give you a notice of intent to use and pay you, if they don’t, they are violating copyright law.
@@SmokeyYunick13 You still need a library of congress copyright. No lawyer is gonna take you serious just because you have all the vocal and instrumental stems in the DAW. Having the original files is only 10% of the battle.
You can copyright your lyrics by writing them and mailing them to yourself. Do not open the letter, it will be date stamped by the Post Office and can serve as a legal document and copyright in the court of law. Feel free to look that up and see if im wrong, im just remembering something they taught us in business school.
Baker that will protect you in some aspects, but if you don’t register works of art in certain formalized ways, your damages can be capped at a fairly low number, if you ever go to sue. For example, in the case of screenwriting, unless your work has been registered with the library of Congress, damages for infringement/plagiarism/theft and the like are capped at $250,000 total. But the average value of a produced Hollywood screenplay is worth FAR more than that, especially when residuals are included. So there are benefits to proper registration.
@@bobbyguzman3058 but it only serve as one form of copyright in some cases people have lost with that being said there are other cases people win.
to my fellow musicians out there...
Grind hard and get out there and tour tour tour. Keep the dream alive.
19:05 When he said the 3 Biggest labels get paid for the artist work. That's *ucked up
💀💀💀💀💀💀💀
Jeff Price Do A Tour You Are The Mentor And Savior Of Musicians!
I love this dude. Get 'em Jeff!
Didn't know Tim Roth was into music business
Shout Out To All The Independents‼️ listen closely
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Watching Jeff on repeat? Priceless
Thank you! This is a rough reality to face. Even my mentor, Merrell Fankhauser found his song used in a restaurant commercial and he didn't get paid for it! He even called them and they hung up the phone!
Mapping payments to the relevant parties really should be quite easy with the right software. Streaming services need to be investigated NOW !
Jeff Price thanks for your service and all of your hard work.
Jeff Price, you are a breath of fresh air...someone who sees how this swindle works....the little guys are paying for the streaming party...when I once asked a PRO why ISRC codes didn't seem to help make royalties trace back to the rights owners, they scratched their heads and said...."well, it's hard....ISRCs don't make the files traceable"....I said, "so you're telling me a computer is not capable of matching codes to a database"?....the answer was effectively 'Yes', it's too hard... Imagine if their bank told them that basic transactions were to hard to track..
Reminds me of Tony Hawk
Ray Romano
mario knez 🤣🤣🤣 true
More like howard from big bang theory
You should google "Brian eichenberger" bass player from beach boys. A twin completely
Oh that's hilarious yeah same looking does Tony dye his hair😂😊
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I come back and watch this video one or twice a year. who's here in 2021?
Got Dolly's story wrong. She wrote "I Will Always Love You" for a friend, she starred on his t.v. show in the early days and when she was leaving the show, she wanted him to know she would always love him. Yeah, it does sound like a torch song but was inspired by platonic love.
this guy told me this same speech (minus spotify) over lunch around this same time, when i accidentally ended up hanging out with him in so cal. we were talking about distribution. he was the expert and i was just soaking it all in. wish i could tell him i'm using tunecore now, but distrokid is where it's at ✌😆
great info...very depressing....
??
Haha 💯🤣
Welcome to the industry.
Why is it depressing to know your rights?
Really Winter? How about your last used car? Deep down you knew you were getting screwed, but for you to investigate and confront the dealer was a bit much and way too complicated to make your case. So you let it go even though you knew your rights. Dealing with music companies shouldn't be like dealing with a use car dealer. It takes you away from the music. Like CandySoul said.. depressing.
Streaming Companies now passes the unclaimed money to The Mechanical License Collective thanks to The Music Modernization Act. That’s how you claim your money either you go directly to the MLC or your publishing company does it for you.
Very informative, I have been recently looking into this and what your'e breaking down has reshaped my perspective. Thank you Jeff Price!!
you need a license for that license.
Wow.. the best spent 20minutes of my life! Finally now I have my eyes open about music revenues.
I only understood the last 20sec and loved it!!
Wow. And this was 5 years ago. Imagine how things have changed since then. Thank you Jeff, you are amazing!
I have been checking out all of these publishing companies and they all have good deals but you have to decide about several variables as this video indicates. I went with TuneCore (TC) and hope it continues to work out for me. But, check this out ~ I have many videos on TH-cam (YT) and do have monetization through TC to collect from YT. Today I received a Copyright infringement against 4 of my original songs ~ To conclude the story, quickly, the infringement came from TC who caught the songs playing, not knowing the songs were mine, contacted YT about this possible infringement immediately and YT contacted me. I find this great that TC, not knowing I placed these songs without informing them, is on the stick about their band's publishing and the money that is legally owed to the bands….. ~ Thanks TC & keep up the great work.
Thanks for the insight, while studying these issues in the industry it's difficult to find areas where companies are looking out for the creators. Always nice to see examples of this and try to build on that foundation and help artists like yourself succeed in such an exploitative business.
Did you ever license your music for movie or commercial placement with TuneCore? If so, how much commission did they give you?
This is very nice to say the least.. Its hard to know who is honest
@@quamidchilds4224 company like tunecore is a DISTRIBUTION SERVICE and not a licensing company
To license your work you have to approach your country s copyright website
Note that you can still distribute your work without taking copyrights from your countrys rights services
Edit: in this case you can't sue someone for copying your music because you don't have any government proof. Poorman copyright just don't work for country laws
Dolly wrote “I will always love you” for her way of telling Porter Wagner that she was leaving his program not a Divorce Song.
This NEEDS more views!
This was SOOO GOOD! Excellent delivery!
This was incredible. Only person I’ve seen talking this honestly and passionately on behave of artists. My question is then how do we get paid. Maybe I missed it. What are steps we can take to make sure we get what is owed
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"copyright is my pornography...laughs..so the one I'm going to focus on is REPRODUCTION" ahah did you get that ?
It's about fucking people over...😂🤣
It is a shame Jeff Price is not with TuneCore anymore.
Chuck Norris looks very different without his beard.
I love his passion. Could listen to this all day.
Dolly Parton wrote "I will always love you" as a tribute to Porter Wagoner when she stopped touring with him. Dolly was only married once, so not a break up song.
Thanks for doing the research Jeff. If not you who? The work that went into creating this infrastructure and deciding who gets what is also amazing. And thanks for bringing us the Pixies.
Is this still true in 2020? I felt like laws might've changed in last 5 yrs. This is the first I've heard of this 2nd royalty stream that we're supposed to be getting directly from Spotify!
yup still the same
Thank You for being honest, Jeff
And for protecting the artists
You're correct
Art has an infinite and timeless value.
im glad I watched this video I learned a whole lot wow
This guy is the type of guy I need on my team. Get us paid G!
Why is this video under 1million views? Why am I just seeing this now, 5 years in. I'm bringing attention to this, but I'm going to live it
Why would a company send royalties if they are not forced to?
Didn' t know, that Tim Roth is so educated in music business.
That`s why it`s better to self publish your music , it`s very easy in 2018 , you just have to send your work to a distributor
@Bryan Badass Dass exactly.
In the end how is it better that way?
at 16:00 he starts to GO OFF 🔥
Dolly wrote I will Always Love You in 1973, about splitting off on her own from Porter Wagoner's TV show.
OMG. I love making music but the business side is a pure headache and really takes the fun out of it. You can get robbed blind so quick.
Yeah I've spent the better part of two yea1rs figuring this all out now and Its affecting my music man.
wow!!!! never knew any of this
Jeff, just ran across this today and wanted to thank you for your hard work.
Ray Romano has spoken.
This is so important, still even though it's been out 6 years. Just to recap to understand some facts myself and for any musicians, to clarify. .I have been researching this for a couple years and a student of the industry.
The Mlc, which is a gov. appointed org. is taking the reigns of compulsory services, and taking over the middleman, who is the guy the speaker used, as an example. They are as I write are just a year young.
They expect to takeover these appointed admins and receive the logs from interactive streaming services, ✔️ copyrights and published works sheets, then pursue any unfound works not yet registered.
In effect the 'black box' from what I recall is to be retrograded to any artists. This as the speaker mentioned, in a monumental task, but the Mlc is poised to process these digital mechanicals.
There was in fact grey area, as the system was not in place, and compulsory licenses were in the millions with & wo meta data, or machine code to process.
The system was based off hard copy vinyl & cassette, etc. But, a nice 9.1¢ per stream is expected to any artist under 5min. anyways.
Essentially though, if you release your work, digital streaming interactive services can and do use it for their profits. Good luck! 😉🤘
Hey, Jeff, Thanks for the advice and awesome video it was extremely helpful
The way he ended that speech is legendary
This Gets me mad man ! There needs to be a change!
took me way too long to realize that was a mirror behind him and not more people
I am much slower. I never got it until I read your comment, wondered why half the audience was behind him.
Do you receive a NOI if you go through a distribution service like Tunecore?
🤔💭
He broke everything down to simplest forms
its nice that i have heard this. next thing is to act on it now
That last 20 secs of this video explains it all
Thanks brother. The most direct, informative seminar on this issue I have ever found.
This is hugely helpful. After I watched this, I found your much longer presentations at Belmont University. Also very helpful. Thank you for doing all of this work!!!
This guy is a genius
I Appreciate You For Sharing The Information 🙌🙌
I'm now going to get paid for my music. thanks bro
Ramble on Boss.
Finish a thought.
In April 2014 The Afghan Whigs released a song called "Matamoros" that contains 5 of the same chords as the song "Matamoros" I released on TH-cam in April 2008. I never received any partial songwriting credit. I would advise any musicians that publish music on the internet to make sure it's securely copyrighted, whether you think it's a hit or not.
Sometimes I think all these distribution bargains are just another way to exploit independent artists the same way mainstream artists are being taken advantage of - just on a micro-level
yeah its the promoter/venue scam just you actually get paid just late af.
Nothing is simple when it comes to money.
I applaused at the end of the video...
Thank you so much, you are one of the 80% of the people on the internet who really help people. Maybe there are more! Haaa! I hope people realize that this is like a $5,000 Master College Course and on the legal part which is almost unheard of. Thanks again, Jeffery! -ADwg
I have learned a lot, but I gotta watch again and take notes....lots to follow. Thank you for sharing
Great Video!!! I got a couple of tracks on Spotify... time to get paid!!! Whooo! (Rick Flair's Voice)
5 bucks
i NEED MORE INFO LIKE THIS !! I FOUND OUT I HAD 12,000 STREAMS, THEY SAID THEY WERE SENDING ME A CHECK FOR $1.26
That is wrong on so many levels!
Shouldnt it be around $11?
So what can we do to get paid for all the stream we have had with spotify?
if Howard Wolowitz became a music mentor
Ray Romano meets Tony Hawk
How can a local music like my song make money from streaming online?
Why is 25 dislikes? Who are these haters? Am thinking 🤔 are the people we are talking about?
Also I do hip-hop I have iTunes I get a little money off of that but not enough to live on I would appreciate what to do
we go by eDK aka Pathfinders
Correction to earlier comment the man’s name is Porter Wagoner not Wagner my bad. Anyway Dolly said “I Will Aways Love You was written for Porter Wagoner.
very informative, thank you
Is there an update to this lecture, with the new changes?
This how I'm getting paid check this out ,let me know what u think th-cam.com/video/qnPMcwZQYq0/w-d-xo.html
Found this video at just about right time , just released my single on cdbaby to be distributed to major streaming services .
Would be interesting to see how this all works out.
TUNECORE SAVED MY LIFE🤟🏾
how?
He obviously didn't hear shit in the video 😂😂
The problem is that people enter deals that they shouldn't.
How can I get in contact Spotify, TH-cam, etc. to get them to pay me my royalties? Do I e-mail them? or what?
Hey Pierre not sure if you found an answer to your ?. Have you heard of tune core or cd baby? You can sign up through them for a small fee then you can get distribution for your songs on spotify and others. I wish you success fam.let me know if this helps. members.cdbaby.com/get-on-spotify.aspx?gclid=CjwKEAjw07nJBRDG_tvshefHhWQSJABRcE-ZLgD8Q4okC7iiQu9U6_oNfJu4Vxee3qH8l9m2JECCnBoCv6bw_wcB
@Codec Pryme Why to avoid cdbaby? Could you get a bit more specific about it?
is there a way to find out who is getting paid, by the record label and who owns what through bmi.. if i had my own label would i have to register with bmi or ascap.. so Wouldnt it be easy to find out who own what that way... don't all record labels have to register the label owners or company...