As Diferentes Fontes Para Pagamento De Royalties

The Different Sources Of Publishing Royalties

first of all thanks to my friend BOBBY OWSINSKI 

Regardless of the era, the songwriter and publisher have made money, and continue to make money in three primary ways: 

1. Mechanical royalties are paid whenever a song is digitally downloaded, a song is streamed from an on-demand service, or a physical CD or vinyl record is sold.

2. A performance royalty is paid whenever a song is played on radio, on television, or streamed over the Internet. 

3. A synchronization fee is paid when music is used against picture.

This payment mechanism hasn’t really changed all that much in Music 4.1 from previous music eras, although it’s managed to become even more complicated than it was. What has changed is that during this period in which music sales are far less than half of what they were at their peak, publishing is the one area of the music industry that has held its own. How does that happen when sales, and therefore mechanical royalties, are down, you ask? 

While it’s true that mechanical royalties are not nearly what they used to be now that CD sales are so low and downloads have decreased, they’re offset by the tremendous increase in performance royalties because music is now played on so many more broadcasts than before. The 500-channel cable and satellite television universe, along with satellite and Internet radio, provides more opportunities for music to be played, and as a result, more performance royalties are generated. 

That said, music publishing income is derived from more sources than you think, and while some of it doesn’t appear significant by itself, it can all add up to a nice royalty check. Here’s an excerpt of a chart from the latest edition of my Music 4.1 book that shows a simple breakdown of when publishing royalties occur, how it’s collected, and the royalty rate.

As you can see, many of the royalties and fees are variable. Synchronization fees consist of an upfront fee which is usually negotiated by the publisher, and a performance royalty whenever the piece containing the music airs on television.

With a movie, the upfront fee is the only one that’s paid for any showings in the theater, but a performance royalty is paid whenever the movie is played on television afterwards.

Likewise, both printed sheet music and digital use of sheet music or lyrics are subject to negotiation. Ringtones are still a source of income not to be overlooked even though the market for them is far below what it was during their peak.

Publishing royalties come from more places than you think, but the rates are different over a wide range of scenarios, which makes it a very complicated subject.

Os Vídeos Mais Vistos No Facebook Sem Som!

Most Facebook Videos Listened To With No Sound

First of all thanks to my friend 

 Bobby Owsinski

Many artists and bands have been switching their music videos from YouTube to Facebook lately because of the increase in viewership, but it turns out the viewership numbers might be a big mirage. Facebook videos are said to be getting close to 8 billion views per day on its platform, but that number is in dispute.

First of all, the way a view is measured is very different between both platforms. On YouTube, a viewer has to watch for 31 seconds to be registered as a view. Facebook is way different in that a view is calculated after 3 seconds, but an even bigger factor is that the audio may be muted during the view time and will still be counted as a view.

It turns out that 85% of Facebook video views happen with the sound off, according to multiple publishers. Of course, this a major problem for an artist that’s using a video as the means to get their music heard. Advertisers can easily adapt by making sure that there’s text that you can read, and that the point comes across visually. Obviously, that’s not possible when it comes to music.

And, of course, there’s the payment factor, or actually, the non-payment factor is a better way to put it. You may not like what you get paid from YouTube, but at least you have the possibility to get paid something. Facebook is still working video monetisation out, although it looks like that’s coming soon.

With that in mind, most artists are probably thinking, “Are Facebook videos even worth the effort?” given that the chances of people listening to a song are pretty minimal. If you’re looking to expand your audience by promoting a video or hoping to go viral, Facebook might not be the best place, given the latest figures. If you have a hungry audience already on Facebook that you want to reach, of course there’s no substitute. That said, don’t give up on YouTube just yet. You may not be getting a fair shake on the platform, but it’s still worth being there if you want your music heard.

Minha Trilha Sonora, Efeitos Sonoros E Voz Para Demo Video Game My Grumpy

My Soundtrack, Sound Design and Voice Over For My Grumpy 

I always wanted to do something, of course talking about music, for children's games. I had some ideas to make some demos, then came this quotation from a client to a game for mobile and tablet.

He sent an example as reference the "My Grumpy". I listened and made my quotation, unfortunately the customer opted for a track "unofficial" for cost reasons.

I then decided myself replace everything in the example, soundtrack, effects and voice.

Making the music and the effects was simple,  the whole process was fun but, where I had more fun was to replace the voice of the character. I did the voice and made the mix along with the track and the effects.

Check the video I edited  below and look for the original and compare.

Feel free to criticize and comment that will help me in future projects.

See more examples check on my youtube channel.

https://www.youtube.com/channel/UCt75HEtMzvg32vlieSqW5tA


Greetings.

Bruno Cantinho - Power Field Studio

A Receita Esquecida Streams Para Músicos & Gravadoras

Forgotten revenue streams for Musicians & Labels

Being a musician in today’s music industry not only requires musical talent. It also requires you to become a quick-thinking, creative mastermind in order to generate the most revenue from your music. There are many ways that musicians can earn money from exploiting their compositions, sound recordings, live performances, and brand. Here is a list of 6 revenue streams you should be capitalizing on – other than just selling your music.

1. YouTube Monetization

Although most don’t usually consider YouTube to be a revenue-generating outlet, it very quickly has become one of the most popular outlets for discovering and listening to music in the world. Check out some of the crazy statistics they have on their site. Tell me what musician or record label shouldn’t be part of this ever-growing community!

• More than 1 billion unique users visit YouTube each month
• Over 6 billion hours of video are watched each month on YouTube—that’s almost an hour for every person on Earth
• 100 hours of video are uploaded to YouTube every minute
• 80% of YouTube traffic comes from outside the US
• YouTube is localized in 61 countries and across 61 languages
• According to Nielsen, YouTube reaches more US adults ages 18-34 than any cable network
• Millions of subscriptions happen each day. The number of people subscribing daily is up more than 3x since last year, and the number of daily subscriptions is up more than 4x since last year.

(YouTube Statistics, 2014)

Not only do they have one of the largest user bases in the world, but they also get tons of exposure outside of the US, allowing you to expand your viewership and fan base. If you are ready to start monetizing your YouTube channel, Symphonic Distribution can help you. We also have the most affordable pricing out there. We guarantee it. Get started!

2. Publishing Administration

Publishing Administration is an animal that has recently been tamed for the ease of the independent musician community. More musicians are now aware of this vital revenue stream, which in past years many have been missing out on. So what is Publishing Administration? In the music industry, publishing refers to the ownership, control and commercial exploitation of musical compositions. It further involves the collection of all royalties ensuing from the usage of musical compositions. Music publishing is the business of songwriters, composers, and lyricists. So how does this help you make money?

Well, if your music is:

• Being streamed
• Performed live in medium to large scale public venues
• Played on the radio
• Played on TV

Guess what? Your songs have been generating publishing royalties (which include performance and mechanical royalties). If your songs aren’t registered with Performance Rights Organizations (PROs) or mechanical royalty collection agencies, you ARE NOT collecting all your mechanical or performance royalties from your music. Unless you register yourself AND your compositions, you will never see these royalties. So it’s really important that you get yourself a Publishing Administrator that can do this on your behalf at an affordable cost. Most will charge you anywhere from $100 – $75 and will register your works in collection societies around the world. Plus most Publishing Administrators will keep anywhere from 20% to 10% of the royalties they collect. Be weary though on how much control they will have over your music! Some companies’ bundle several services into one and will not only collect your publishing royalties, but will sometimes handle your Sync Licensing exclusively as well. (We’ll chat more in depth on licensing in a bit.) If you’d like to get more information on how Publishing Administration works and the services Symphonic Publishing Administration offers, you can find all the details here.

3. Sync Licensing

Sync Licensing (short for “synchronization licensing”) refers to the making of your music available for opportunities in film, TV, commercials, video games, and any form of visual media. In this realm the key decision makers are called Music Supervisors. Symphonic Distribution has partnered with strategic and key companies, such as Rumblefish, Music Supervisor Inc., and Cue Songs, which allow for actual Music Supervisors to navigate and choose from the music in their platforms for opportunities they have available. “Rumblefish artists have been paid millions in royalties because clients love to tell their stories with this amazing music.” (Rumblefish, 2012) If you’d like to make your music available for licensing opportunities,partner with Symphonic Distribution and we can get it to the appropriate firms that can help expand your music’s reach.

If you’d like to learn more about the exciting field of Sync Licensing, check out some very useful posts we’ve done in the past:

What Makes Music “Licensable”?
Five Steps to Prepare for Licensing Your Music

4. Background Music Licensing

Similar to Symphonic’s Sync Licensing program, there are companies which we have partnered up with that accept music as background music. These companies’ clients, such as stores, hotels, restaurants and more, will use that music in their establishments. The largest companies that used to focus on this type of service were DMX and Muzak. Today these two companies have merged and formed Mood. They house the industry’s biggest and best rights-included music collection for background music. Mood prides itself as a censorial media specialist, using music and video linked to brand personality. Symphonic’s licensing department works with Mood Music designers to hand-pick each track for submission to its channels. Want to offer your music for Background Music Licensing? Apply to our Licensing Program here!

If you’d like to get more information on Background Music Licensing, check out our previous blog post on the subject.

How to Get Your Music in Stores, Restaurants, Hotels & More

5. Neighboring Rights

If you’re a record label/master rights owner, and your master recordings are being publicly performed and broadcasted, you’re earning neighboring rights royalties. This is completely separate from the field of music publishing, in which songwriters and composers earn performance royalties from public broadcasts of their musical compositions. These types of royalties are collected when music is:

• played on Pandora
• played on BBC radio
• played on Sirius XM
• played on cable TV music channels
• played on terrestrial radio outside of the USA
• played in businesses as background music (restaurants, retailers, hotels, etc.)
• played in clubs / live performance venues
• played on any internet radio platform
• played on any satellite radio platform
• played on various new online medias

Due to the unique nature of this royalty type, Symphonic’s Neighboring Rights Administration Service is only available to eligible labels who are distribution clients and who are approved by our Rights Management team. If you’d like to be considered because you’re music does fit these types of scenario, contacts us for more information and see if you are eligible.

6. Merchandising

Selling merchandise is one of the best ways for generating income for your band, record label, or artist brand. As a matter of fact, it may be the only source of income that you as an artist can easily control. If you are a record label or musician, the most important thing you have, besides your talent of course, is your fans. Take care of them and come up with some cool options for branding your music, and have your merchandise available at all your shows and on your site. Not only will it be a nice treat for your fans, but you’ll also have free walking advertisement.

As you can see, there are several things that today’s musicians and/or record labels can do in order to maximize the revenue potential of their music. That is why we are committed to providing these outlets to our clients, so that clients are able to collect money that is already sitting out there AND to have creative ways to generate more money from their music.

By Janette Berrios
Marketing Manager, Symphonic Distribution
janette@symphonicdistribution.com

3 Erros Comuns Que Um Relações Públicas De Uma Banda Deve Evitar

Three Common PR Mistakes Bands Must Avoid

By Wade Su*on, Rocket to the Stars

As I was pu9ng the finishing touches on a recent development ar@cle, I couldn't

help but go back and look over some of the comments from Beaver County Times

entertainment editor Sco* Tady. One of the stories he relayed to me struck a chord

and it lingered in my mind for several days.

The story I am referring to is Tady's telling of having to track down a photograph of a

band he was wri@ng an ar@cle about. The short version is that Sco* was wri@ng a

piece on a band that was part of an upcoming doubleheader in Pi*sburgh. Sco*

wrote the story and contacted the band because he needed a photograph for the

ar@cle. When the band failed to get back to him, Sco* a*empted to reach the

band's publicist. The publicist, like the band, also failed to send the photograph.

Sco* was leI with few choices and ul@mately decided to run the story...with a

photograph of the other band set to perform in that show.

I'm going to tell you something very disheartening: This sort of thing happens more

oIen than many of you would believe. I find it truly amazing that so many bands do

not comprehend how quickly inadequate public rela@ons and media representa@on

can ruin their reputa@on in media circles and how much it can hold them back from

advancing in their careers. I am completely sympathe@c of bands that don't have

the money to hire the proper representa@on but, if that is the posi@on you are in, it

is vital that you give this part of your music business the a*en@on it deserves.

I am going to tell you three TRUE stories that I had to deal with all during a span of

just a few days. Some involve bands that currently have no public rela@ons or media

representa@on while others are currently under contract with firms. This is the kind

of stuff that goes on behind the scenes...

"STORY #1"

Just a few weeks ago, I reached out to a singer I was interested in covering for one of

my in-depth ar@st interviews. The ar@st is very talented and was in the process of

wrapping up a tour. My ini@al contact with her was via Twi*er and she appeared to

be genuinely enthusias@c in her responses. I requested her e-mail address so I could

send her a standard form I give all ar@sts prior to one of my interviews.

Understand that the form I send them includes a sec@on explaining that Rocket's

long-form interviews are typically conducted via Skype. I'm not going to go into

many specifics here but being able to see the person I am interviewing is an

important part of my interview methodology. A person's mannerisms, body

language, and facial expressions are all indicators of when I should increase pressure

or ease up during certain lines of ques@ons. I take the interview process so seriously

because doing so leads to the wonderful ar@st interviews published by Rocket to the

Stars. It is a ma*er of maintaining a standard with my readers in mind.

Back to the story. So I sent that form to the e-mail address provided to me by the

ar@st. Four days later, I received a response from the public rela@ons firm

represen@ng the ar@st. It said that she had agreed to the terms of the interview and

wanted to set up a @me to conduct it but, near the end of the e-mail, the public

rela@ons representa@ve includes a brief comment informing me that the interview

would be done by telephone instead of u@lizing Skype.

"Huh? That isn't how this works," I thought to myself. I sent a very polite response

to the public rela@ons representa@ve explaining that doing the interview on Skype

was part of Rocket's policy for conduc@ng and wri@ng our ar@st interviews. I also

explained the reasons for the process being what it was and even provided them

with links to previous ar@st interviews on our site so they could see what type of

ar@cle I was aiming to write about their client. They later responded saying they felt

it would be be*er to do the interview by phone and "suggested" @mes that would

be good for them to conduct the interview.

I went to Twi*er and contacted the ar@st directly in an a*empt to figure out what

the hell was going on and I asked her if there was a specific reason she didn't want

to do the interview on Skype. She responded to my inquiry and said that she was

more than willing to do the interview in that manner and was confused by the emails

I was receiving from her public rela@ons representa@ve. I suggested we set up

a @me and day to do the Skype interview (I wanted to get the interview posted

because I had other stories I needed to work on) and she suddenly became very

hesitant.

That was all I needed to know. I immediately pulled the plug on the interview. I

knew one of two things was happening: either there was a complete lack of

communica@on between the ar@st and the public rela@ons representa@ve or the

ar@st, for what ever reason, did not want to do the Skype interview and wasn't being

honest with me when we spoke about it. The interview never happened.

Journalists have more important things to do than waste @me trying to sort through

this kind of mess. Ge9ng one story from an ar@st while their PR crew is saying the

exact opposite is unprofessional and makes it very difficult for media to take you

seriously. It also makes us not want to cover you.

"STORY #2"

If you, your public rela@ons representa@ve, or your band's manager decides to

contact the media hoping to get coverage for your show, do not send one of those

stupid e-mails pretending to be a fan sugges@ng the media outlet "check out this

totally awesome local band". You think you are being slick but an experienced

journalist, even one working in a small town, will sniff that out from a mile away. Do

you want to know why we are so good at detec@ng that kind of BS? Because it

happens so oIen. It happens in music news and it runs rampant in poli@cal news

coverage.

It was just last week that somebody e-mailed me sugges@ng I watch a YouTube of

some band from New York City. The author of the e-mail went on to say they

thought the band had poten@al and he just happened to think of Rocket to the Stars

(JOY!) and he thought I might be interested in doing an interview with the band. Of

course, he just happened to have links to their YouTube videos and website.

"Seriously?" I groaned.

I immediately responded to the e-mail asking if the author was the band's manager.

Sure enough that ended up being the case. I received a message from the guy

about ten minutes later admi9ng that he was their manager.

I'm going to give you a pro @p: If the ar@st or band in ques@on is NEWSWORTHY,

journalists do not care if it is a member of the band, a manager, or a fan contac@ng

us with the @p. If you are a member of the band, a public rela@ons representa@ve,

or a manger pulling double duty, please, just say so from the beginning. We are

going to find out and it will make you look tacky and unprofessional.

And if you do feel you need to pretend to be somebody else, that act probably isn't

newsworthy enough for coverage to begin with.

"STORY #3"

If there is any one lesson ar@sts take from this ar@cle, I hope it will be this:

Journalists contac@ng you for interviews are usually working on some sort of

deadline. I know of several instances in which journalists and entertainment writers

decided to drop an interview with an ar@st because it would take so long for the

performer to get back to them. This problem is not exclusive to the music industry.

It happens in poli@cs, with community events, and several other areas of news

coverage.

You have to understand that reporters live and die by their ability to meet deadlines

and uncover stories before their compe@@on. So when a reporter suddenly seems

less interested in interviewing you and wri@ng about your band, don't start

cri@cizing and saying nasty things about them on social media. More oIen than not

those interviews are ge9ng dropped because you have a pa*ern of wai@ng three

days to respond to the journalist's inquiries. Once that pa*ern carries out over the

course of three e-mails, the reporter has already blown more than a week trying to

set up the interview and get the informa@on he or she needs.

I had this happen with three different ar@sts...just last week. Most reporters do not

have @me to deal with this kind of thing because they have deadlines they have to

meet to keep their jobs. They have editors breathing down their neck to get things

done. I don't have an editor standing over me at Rocket to the Stars but I s@ll

maintain self-imposed deadlines to guarantee new content is being posted on a

regular basis.

One more pro @p to close this thing out: If a reporter is interested in covering you,

they are probably watching you on social media. So when they wait three days for

you to respond to an e-mail while seeing you post on Facebook every twenty

minutes, well, they are probably going to drop you in favor of covering somebody

else.

And the chances of them ever covering you again are slim.

5 Regras Para Composição Para Comerciais De TV, Teasers ou Sequências

5 Unwritten Rules For Composing a TV Commercial, Ident or Title Sequence

Written by Tim Rabjohns & Fridel for 

As TV composers and course leaders we come across many unwritten rules that

are simple but sometimes forgotten when working as a TV composer. Some of

you will agree that these are very simple but it sometimes make sense to go back

to the basics.

1) When you read the brief try to understand what's written in between the lines.

Remember that most likely it was not written by a musician, and so they do not

have the same way of expressing music as you do. Try and think of the brief that

describes the emotional journey that sets the mood of the piece, rather than

always just the style of the piece. Always ask as many questions as you can,

(preferably to the person making the creative decisions) before starting to

compose. It also pays to ask for specific examples of existing music - this can

save a lot of time and make things clearer..

2)Many people only submit a single option when they are pitching. We really think

it’s worthwhile trying to submit more than one option. (some of them may be from

pitches that you have done before). We normally send one version that is exactly

what the brief asks for, one that is a bit more extreme and one that follows your gut

feeling (i.e. how you think it should sound).

3) Although it is a short (ie 10 - 30 secs) it will often need to have a ‘Narrative’ of

some sort. By this we mean a short intro, a middle or body and then a build

towards the end and a finale. We find it helpful to think of it like a song - with

different “sections” - although much shorter.

Obviously not all jobs will require this format - especially some TV commercials

which want the soundtrack to sound like a slice of a song.

4) If the job needs a “mnemonic” (a memorable melody line at the end - think “Intel

Inside”) make sure it is a clear memorable melody and better if it appears in more

than one place in the music. Nowadays a mnemonic can also consist of a

signature “sound” rather than a melody - so it’s always a good idea to ask the

client what they want.

5) Subtle sound design can give lots of life to your ident composition. There are

lots of sound design libraries full of sounds, so it is very easy to do. It's worth

noting that you will always score more cred points if you create your own sounds -

that nobody else has.

Uma Das Minhas Trilhas Sonoras Para o Vídeo Game "Last Of The Disciples" - LOTD

My Soundtrack For Video Game "Last Of The Disciples" - LOTD

By Bruno Cantinho 

I like video games, I have my preference focused more action, adventures cars racing and so on. 

As I have my owns studio (Musical Producing and Recording) I started working with soundtrack and sound design making my demos and some experiences.

On the example below, check the video, I did three soundtracks for the game "Last Of The Disciple" - LOTD with prediction of launch for next year.

As with any process of creation, I first made a classic version then made this change by swapping instruments and adding the tempo to make a more heavy metal variation.

I made a total 3 versions within the same theme, this version is the most complete, i.e., drums, bass, three guitars, synths and a series of layers of church organs.

I made the video to present the music and put the frames of the characters of the game.

For more details about the game look on social networks for Last Of The Disciple - LOTD.