| Article Title:
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| | departments and the organizationto handle
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| ==============
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| | this on-going duty. That helps you out a
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| Who Else Wants to Receive A BIG FAT
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| | lot. Oh,they take their cut too but for
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| Royalty Check for Their Music?
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| | the most part, if they treat youhonestly,
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| Who Else Wants to Receive A BIG FAT
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| | it is worth letting them participate for
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| Royalty Check for Their Music? Copyright
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| | the hasslethey save you in managing these
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| © 2005 Ty Cohen Music Business Phone
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| | details. There are four kinds
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| Book
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| | ofroyalties to discuss before we are done
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| Some Help with Figuring Out the Sometimes
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| | with this topic and thoseare...
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| Confusing Ways
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| | * Mechanical Royalties
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| That Artists Are Paid For Their Work In
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| | The cut you get when another artist
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| The Music Industry.
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| | records or covers your songto release on
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| The thing we like most about the music
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| | their CD. You receive a royalty for the
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| industry is also the thingthat is most
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| | sales ofthat CD as the author and copy
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| confusing and frustrating. It just
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| | right owner of the song. Thistype of
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| doesn't worklike every other job in the
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| | royalty applies whether you write a song
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| country. When you make a living as
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| | that the artistreleases initially or if
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| aprofessional songwriter, producer,
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| | the artist is covering a song you
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| musician, rapper or singer,you don't work
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| | havealready released.
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| 9-5, you don't have a boss and a desk and
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| | * Synchronization Royalties
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| all ofthose "normal job" things. That's
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| | You receive these payments when your song
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| what we like about it.
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| | is used in a movie, a
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| But the music industry is a business and
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| | TV show or a video. These are negotiated
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| a lot of money flowsthrough the companies
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| | on a royalty-by-royaltybasis so make sure
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| that promote, produce and market the
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| | your agent is experienced in this kind
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| musicyou make. The process of getting
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| | ofcontract. If your song becomes the
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| the money you deserve worksmuch
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| | theme some for a popular
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| differently in the music industry than it
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| | Sitcom, it could be a huge windfall for
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| does in corporate
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| | you if thesynchronization royalties are
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| America.
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| | negotiated correctly.
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| To be considered full time at your art
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| | * Print Royalties
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| and craft of being asongwriter, producer,
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| | As the title implies, print royalties are
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| musician, rapper or singer, you have to
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| | what you receive whensheet music of your
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| getpaid. Being an artist doesn't exempt
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| | song is sold. Print royalties can run in
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| you from the rules we alllive by. You
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| | the
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| have to eat, live somewhere and pay the
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| | 10-15% range so they are worth securing
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| rent asthey say. And you don't want to
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| | and protecting.
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| just "get by". Ideally yourmusic will
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| | * Performance Royalties
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| become recognized and well liked and you
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| | Royalties are due to you every time your
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| will becomeone of those "filthy rich
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| | song is played on theradio or performed.
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| rock, pop or rap stars" you see on VH1,
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| | Performance royalties, as you might
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| MTV or BET. But to do that you have to
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| | expectare very complicated to track and
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| master one basic idea.
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| | collect so you will come torely on a type
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| You have to figure out how to get paid.
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| | of service organization known as a PRO.
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| This article will give you the basics.
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| | A PRO is not a Terrorist Organization.
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| We will go over some ofthe unique
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| | PRO stands for Performing Rights
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| terminology that pertains to how money is
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| | Organizations and they are thegood guys
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| collectedand paid out to artists in the
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| | because they help you get paid the
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| music business as well as discusssome of
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| | performanceroyalties you deserve for your
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| the organizational systems that you must
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| | material. These organizationswork on
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| understand to beable to "make a buck" in
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| | behalf of song authors and publishes to
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| this business.
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| | collectperformance royalties on any
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| Strange New World
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| | possible venue including:
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| The terminology or the words we use to
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| | * Radio
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| refer to the paymentssystems in the music
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| | * Television
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| industry are much different from in a
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| | * Movies and even
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| normaljob. You don't just report to
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| | * The Internet
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| payroll for your regular paycheckevery
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| | Now you may think every time you hear
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| other week. So our first order of
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| | your song on the radio, youimmediately
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| business is to defineand understand a
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| | earned a small royalty but it doesn't
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| couple of terms and the systems they
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| | work exactlythat way. Instead, radio or
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| represent.
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| | other broadcast media includinginternet
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| The two terms you should get to know the
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| | pay services pay a single flat license
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| best are "recoupment"and "royalties".
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| | fee to broadcastfrom a catalog of songs
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| You Mean It's Not a Gift?
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| | represented by the PRO. The PRO
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| Recoupment may seem like a sweet deal up
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| | thenestablishes a song frequency
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| front. Recoupment isessentially a loan
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| | percentage based on samplings of airplay
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| from the record company to fund the
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| | to determine how much your "cut" of each
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| expensesof your recording work. The
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| | radio stationlicense fee might be and
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| record company has signed you andnow the
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| | from that they pay your
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| work of producing the CD is ahead of you.
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| | performanceroyalties.
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| In order toallow you to focus all of
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| | To learn more about the major Performance
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| your energies and time on making
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| | Rights Organizations,here are the big
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| therecord for them, the record company
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| | three and how to research or contact
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| will "advance" you a lump sumof money to
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| | them...
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| handle both your living expenses and the
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| | 1. BMI
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| expenses ofthe recording. This is to go
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| | 20 W. 57TH ST.,
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| for:
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| | NEW YORK, NY 10019 USA
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| * The gear and equipment you will need to
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| | Tel 212-586-2000
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| produce the recording.
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| | 2. SESAC
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| * Living expenses and incidentals during
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| | SESAC (headquarters)
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| the recording process
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| | 55 Music Square East
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| * Touring expenses
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| | Nashville, TN 37203
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| If you receive recoupment money for
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| | 615-320-0055
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| recording your CD,immediately discuss
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| | Fax 615-329-9627
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| with your band or other key people in
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| | 3. ASCAP
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| yourcamp two important concepts and
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| | One Lincoln Plaza
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| enforce them religiously.
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| | New York, NY 10023
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| 1. Keep track of what you spend and use
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| | Tel: (212) 621-6000
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| the money wisely. Youcould blow through
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| | Fax: (212) 724-9064
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| your recoupment money very easily and
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| | Conclusion
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| suddenlyrealize you have no more expense
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| | There is a lot to learn about how you
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| money and the recording ortouring is not
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| | will be paid for yourartistic work in the
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| done. You don't want to face that. Pick
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| | music industry. But it's a
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| the mosttrustworthy, numbers aware person
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| | worthwhileinvestment to understand the
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| in your band or entourage andmake him the
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| | system as much as possible becausein
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| budget wizard for the entire process and
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| | doing so, you increase the amount of
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| obey himlike he was your master. You
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| | money you will see cometo you for your
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| will be happy you did.
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| | songs and performances.
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| 2. It isn't your money! Remember,
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| | In this article, we have given you an
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| recoupment money is a loan.
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| | overview, some definitionsand introduced
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| It is an advance against the profit the
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| | you to a few organizations that are
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| record company will makefrom your work.
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| | central tomaking the music industry
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| The record company must recoup the funds
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| | payment system fair and workable, tofind
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| fromsales and if they do not, they loose
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| | even more as well as thousands of other
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| money and you could bedropped.
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| | essential musicbusiness contacts visit
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| So be careful in how you negotiate and
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| | Don't stop with this introduction though.
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| use your recoupment funds.
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| | Work with yourmanagement and become
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| Recoupment is a wonderful system to give
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| | "industry savvy" about
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| you the freedom toproduce a quality
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| | royalties,contracts, recoupment and all
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| recording. But beware that there are
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| | the inner workings of the moneyside of
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| hiddencosts and demands that come with a
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| | the music business. Your homework will
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| recoupment. Don't let themtake you by
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| | pay off and leadto a long and prosperous
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| surprise.
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| | career as a performer in the
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| A Royalty That Does Not Refer To Princess
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| | excitingworld of the music industry.
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| Di.
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| | Thank you for taking the time to read
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| The term "royalty" when it pertains to
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| | this article and I wishyou Much Success!
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| the music business issomewhat more
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| | This article was written by Ty Cohen,the
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| familiar. The simplest definition is
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| | music industry's most recognizable voice!
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| that aroyalty is a percentage of the sale
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| | Ty is the C.E.O of Platinum Millennium
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| of a song or CD that is paidto the
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| | Publishing and
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| artist, the composer and other
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| | Platinum Millennium Records as well as
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| participants in theprocess. Royalties
| |
| | owner of: and
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| are used in many creative
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| | To find out more about Ty Cohen, his
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| industriesincluding publishing,
| |
| | services, products and howhe may be able
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| television and movies as well so
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| | to help you succeed in the music industry
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| mostpeople are aware of the idea.
| |
| | go to: and sign up for his freelimited
|
| But you might wonder who handles the
| |
| | edition music industry success 10-part
|
| collection and distributionof royalties?
| |
| | "Mini-Course",it will work wonders for
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| As a rule, the publishing company takes
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| | you and best of all, it's FREE, but
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| on thisjob. They have the accounting
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| | EXTREMELY VALUABLE!
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