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Music Publishing News Roundup: Friday April 24, 2015


Roger Faxon, a former music publishing executive has joined Pandora’s board of directors at Pandora which not only surprises the NMPA but many others in the music business.  This news is shocking to the general public due to the relationship Pandora has had with the publishing world and songwriters. The hope is that Pandora acquiring an individual from the publishing world will make it change its approach towards the struggles of songwriters.

German music publishers and GEMA, plan to address streaming issues between the services and the rights holders.  They are taking a stance in regards to fair compensation for the creative people in the music industry as they express that it is high time and streaming services need to put a cap on their “gold rush” mentality.

Afrika Bambaataa, “Godfather of Hip-Hop,” has signed with Sony/ATV  for a worldwide publishing deal. This deal includes his current songwriting catalog as well as his future works. Bambaataa expresses that he is very excited to be affiliated with a company such as Sony/ATV and looks forward to the many more possibilities and events the future will bring.

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5 Things You Had Wrong about YouTube Royalties


What site has over 300 hours of video uploaded every minute and 7 billion hours watched every month?  Well if you have been living under a rock, get ready, because YouTube is here to stay. With over $4 billion in revenue in 2014 alone, you may be wondering “Where does all this money go?” and “How can my songs make money from it?” Well here are some common misconceptions on how songwriter royalties work with this service.

1) YouTube does not pay songwriters:

Actually, with each YouTube video that uses music, there are 4 different royalty types generated, 2 of which are for songwriters! See below list:

1) A royalty for the content owner

2) A royalty for the sound recording owner

3) A performance royalty for the public broadcast of your song – to you

4) A mechanical royalty for the interactive stream of your song – to you

2) The more views the more $:

The view count per video is actually just one of several different factors that contribute to the amount of $ calculated for advertising on a video. Additional factors include how much of the video is actually watched, how many comments per video, how many subscribers, what kind of content is in the video etc…

3) Artists get paid from live videos and all user generated content:

YouTube royalties are only payable to the artist when a video has the master recording of the song, so if a fan uploads a video of a live performance after seeing the concert, the artist would not be able to monetize on that video. You, the songwriter however, can monetize anytime your song is used regardless of the recording. In this way, composition owners may have a wider range of opportunities for monetization, compared to master recording owners who can only monetize from videos that contain one specific recording.

YouTube’s Content ID system matches audio from original recordings using the sound file and relevant information (Songtrust clients can find and submit ISRC’s and other metadata by going to our Songtrust Dashboard –> Spotify/iTunes lookup section) to identify videos that may be a potential match, this goes for cover videos, live performance videos, lyric videos, cat videos etc. giving you the opportunity to either monetize from them or take it down. You can also manually claim videos using your music through Songtrust’s YouTube monitor.

4) YouTube royalties get paid to you by your distributor or label:

Unlike mechanical royalties generated from physical sales and digital distribution, for the most part labels are not involved with you as a songwriter on YouTube. If you are affiliated with ASCAP or BMI, you are eligible to collect the performance royalties generated from your video. Additionally, when you signup with Songtrust, you will automatically be opted into our YouTube partnership and claiming technology, allowing you to collect your interactive streaming mechanical royalties, the other bucket of income generated from YouTube.

5) YouTube pays publishing royalties worldwide:

The money paid out by YouTube directly as well as the money from ASCAP and BMI is primarily US only. Foreign collection societies also track and collect royalties from the service, so in order to make sure you are eligible to collect publishing royalties worldwide you will need to affiliate and register your songs with these societies, Songtrust will take care of this for you.

Author: Alex Badanes

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Music Publishing News Roundup: Friday April 10, 2015


Sony/ATV has appointed Mark Abramowitz as A&R Executive in order to help develop non-country talent in Nashville. Abramowitz, who previously worked as an A&R coordinator in New York, relocated to Nashville in February and has been promoted to manager, A&R/creative. Since most of his roster is based in Nashville, he feels that this is a move in the right direction.

ASCAP has appointed Alice Kim as Executive Vice president, Chief Strategy & Development Officer, reporting to ASCAP CEO Elizabeth Matthews.  Kim started off her career in investment banking and several other startups.  She is currently a strong advocate of start-ups in NYC and has a bright vision for ASCAP, as she embarks upon her new role.

Ole has acquired Jingle Punks in a transaction that creates one of the world’s largest production music libraries.  It will be folded into ole’s Nashville operation and function as usual in the Los Angeles and New York locations. Jingle Punks appreciates ole’s sensibilities and wants to work on their mission to focus on core strengths and continuously grow.


Signup with Songtrust today to collect global publishing royalties


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Music Publishing News Roundup: Friday April 3, 2015


A new streaming music service by the name of Tidal has been re-launched in the music industry by rapper and  producer Jay Z who recently bought the service for $56 million. Competing with Spotify, Google, and Apple, this service is introduced as a high-fidelity audio service. Unlike many competitors, Tidal provides songwriter songwriter credits within track info and is also a subscription only service.

The ASCAP Foundation plans to support ASCAP Day at Berklee College of Music in Boston on Wednesday, April 8, 2015.  This day will provide Film Scoring and Songwriting students with information on current trends in their fields and an opportunity to meet with ASCAP songwriter, composer, producer, and performer Adam Schlesinger.

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Music Publishing News Roundup: Friday March 27, 2015


Apple and Beats move forward with their digital music services by developing a streaming service that will rival Spotify.  Beats is essentially reshaping Apple’s digital music in innovative ways and something that the company plans to enhance is iTunes radio while targeting a specific market.  According to this article, one thing perhaps Apple won’t have is a lower price than its rival services.

Songwriters from around the world have written an open letter regarding publishing rights. This discussion touches topics such as direct licensing, NMPA’s reaction, and a few other subjects.  This letter acts as free speech among publishers in the music industry to gage what can be done, what needs to be done, and or what should be done.

American Idol alum signs a publishing deal with Warner/Chappell this week.  His recent co-writing endeavor had chart success and the song was listed in the top 20 on Billboard’s Country Airplay chart.  He has been significantly successful and looks forward to working with some great writers a part of Warner/Chappell’s roster.

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