Archive | Music Business RSS for this section

[Video] Music Tech Investors and Incubators — Investing in the LA Music Tech Scenes

Last month I had the pleasure of curating and moderating the panel “Music Tech Investors and Incubators — Investing in the LA Music Tech Scenes” at the Amplifying Music in Our Los Angeles conference produced by the UCLA Center for Music Innovation.

My panelists included representatives of investors, accelerators and co-working communities in Los Angeles that focus on music industry entrepreneurship including Techstars Music, Capitol Music Group’s Capitol360 and gBeta Music Tech Accelerator, and The Rattle LA, as well as more open format accelerators including Expert Dojo and Startup UCLA & Blackstone Launch Pad.

In this <60 minutes discussion, we covered plenty of information that any founder of a music startup would want to know about where and how to seek resources to develop, launch, or grow a music venture in Los Angeles.

Bios of my speakers can be found below the video of the panel.

 

 

  • Moderator: Dae Bogan, Founder, TuneRegistry; Lecturer, UCLA Alpert
    Dae Bogan is a music rights executive, serial entrepreneur and educator with over a decade of experience in the music industry. He is the founder and CEO of TuneRegistry, which develops music rights administration software and solutions for small and medium-sized music rightsholders. He also offers music rights, business, and technology consulting through his firm, Rights Department. Dae also teaches the Music Industry Entrepreneurship course at UCLA Herb Alpert School of Music and was an Innovation Fellow at the UCLA Center for Music Innovation. Previously, Dae owned and operated an independent record company (Loft24 Records), a music publishing company (Loft24 Publishing), and an artist management company (Renaissance Artist Management) until 2012 when he founded an in-store independent music video network (Maven Promo), which was later acquired by EMPIRE Distribution in 2017. Dae also founded the world’s first aggregator and search engine of unclaimed music royalties (RoyaltyClaim), which was acquired by HAAWK in 2017.

 

  • Jonathan Wallace, Investment Director, Expert Dojo
    Jonathan Wallace joined Expert Dojo upon its inception as an investment analyst. Over the course of the next 3 years he established relationships with some of the largest venture capital funds in the world and helped dozens of startups raise investment. Jonathan is now the investment director for Expert Dojo and oversees all follow on investments. Expert Dojo has over 30 companies in its portfolio after investing for the last 12 months. 

 

  • Josh Remsberg, VP, Business Development, Capitol Music Group
    Josh Remsberg is Vice President of Business Development at Capitol Music Group. At Capitol, he oversees the Capitol360 Innovation Center, and is focused on finding & developing new revenue opportunities to exploit and extract value from CMG’s copyrights, content, brand assets, and artists. Josh also leads the eCommerce, CRM, audience ownership and gaming strategies for the label group.

 

  • Leah Nanni, Venture Coach and Outreach Coord., Startup UCLA & Blackstone Launch Pad
    Leah is a business owner and Venture Consultant at Startup UCLA, where she helps Bruins become confident and competent entrepreneurs. She also co-leads Startup UCLA’s outreach and inclusion efforts with the goal of reaching entrepreneurs at any stage, in any industry, and from any background and any area of study. Leah holds a M.S. in Social Entrepreneurship and a Master of Social Work, and she brings more than 9 years of business ownership experience to the UCLA and greater Los Angeles communities. 

 

  • Jen Hall, Director, TechStars Music
    Jen Hall is a music industry veteran having worked in management with major artists and at record labels over the past 15+ years. Jen joined Techstars with the inception of the Techstars Music program in 2016. Techstars Music has just finished its 3rd program. Alumni companies from the Techstars Music 2017 and 2018 class have gone on to raise over 50 million dollars in follow on capital.

 

  • Michael Frick, Advisor/Executive Producer, The Rattle, LA
    Michael Frick is a creative solutions innovator with the ability to build consensus among disparate stakeholders. His expertise in music driven strategies for brands, motion pictures, television and digital entertainment has seen him partner with numerous major global brands, agencies, networks and studios. As advisor to the Rattle he is assisting with the launch of the UK-based collective in Los Angeles, CA.

Introduction to Music Royalties Forensics (North America – USA & CAN)

Introduction to Music Royalties Forensics (North America)

Price: $90
Duration: 1 hour 30 minutes
Order: Click here to purchase.

 

Course Overview

Every day, millions of music streams, downloads, digital transmissions, public performances, and broadcasts generate tens of thousands of dollars in unclaimed royalties. To date, the estimated pool of unclaimed royalties exceeds $2 billion.

These royalties are often due to independent music creators, heirs and beneficiaries, and legacy artists. After a period of time, these unclaimed royalties accrue in escrow accounts around the world only to be disbursed by market share to the major labels and publishers leaving the indies, to which much of the money belongs, underrepresented and unaccounted to. Music royalties forensics is the process of searching for, identifying, and claiming these royalties. This course is an introduction to the art and science of finding and unlocking unclaimed royalties.

Your instructor, Dae Bogan, is a music rights and royalties tech entrepreneur (original founder of music rights administration platform, TuneRegistry, and the world’s first search engine of unclaimed royalties and music licenses, RoyaltyClaim), music creators’ rights advocate, and lecturer of music industry entrepreneurship at UCLA Herb Alpert School of Music. He has written about black box royalties extensively on his blog DaeBoganMusic.com. He has helped hundreds of music creators and rights-holders find and unlock hundreds of thousands of dollars in unpaid music royalties from around the world. And his research on the state of unclaimed music royalties was used by US Congressional Budget Office in its analysis of the Music Modernization Act of 2018.

 

Learning Objectives

  1. What are your rights, entitlements, and income participations as a music creator and/or rights-holder?
  2. What are the most common royalty streams generated from a variety of music usage types and where do those royalties flow?
  3. How are music royalties allocated and distributed by music rights organizations?
  4. What are niche funds and sub-funds that often generate unmatched so-called “black box” royalties and how do you check for your records?
  5. How to track music usage to leverage usage and detection reports to reconcile or audit royalty statements?
  6. What are some tools and resources to help you search for, identify, and claim unclaimed royalties and music licenses?
  7. What are the requirements to properly setup to be accounted to and paid royalties from previously unaffiliated sources going forward?
  8. What are some tips for managing your music rights affiliations?
  9. What are some tips for preparing your music rights and royalties for beneficiaries?

Music Industry Entrepreneurship Masterclass

Music Industry Entrepreneurship Masterclass

Price: $190
Duration: 4 hours (with breaks)
Order: Click here to purchase.

Course Overview

From digital-first record labels and social music apps to AR/VR music experiences and blockchain-based music streaming startups, entrepreneurs have been disrupting and innovating across the music industry since the launch of Napster in the early 2000’s.

In this masterclass, you will learn to apply principles of entrepreneurship and fundamental business strategies to the music industry in ways that will make you a stronger asset within a team or a more strategic music creator or entrepreneur.

Learning Objectives

  1. How to form quality ideas using design thinking techniques in the ideation process.
  2. Understanding the intellectual property implications of your creations, products and services in the music industry.
  3. How to utilize market research and quantification methodology to vet ideas and quantify opportunity in the music industry before you invest your time and resources.
  4. How to throw away your 30 page business plan and instead develop an actionable business model that centers around product-market fit.
  5. How to launch with a lean go-to-market strategy.
  6. How to develop basic digital marketing funnels.
  7. How to get out of your own way by applying data-driven strategies to prioritize your monetizable skills. (Key insight for music creators seeking to monetize their skills while building a career as a performer.)
  8. How to keep yourself motivated by identifying and repeating your most powerful motivators.
  9. How to attract co-founders and build teams on a budget.
  10. How to build company culture in small or remote teams.

Live Online Workshop: Introduction to Music Royalties Forensics (May 18th and May 19th)

Workshop Flier

About Me: I am a music rights and royalties tech entrepreneur (original founder of music rights administration platform, TuneRegistry, and the world’s first search engine of unclaimed royalties and music licenses, RoyaltyClaim), music creators’ rights advocate, and lecturer of music industry entrepreneurship at UCLA Herb Alpert School of Music. I have helped hundreds of music creators and rightsholders find and unlock hundreds of thousands of dollars in unpaid music royalties from around the world. And my research on the state of unclaimed music royalties was used by US Congressional Budget Office in its analysis of the Music Modernization Act of 2018.

 

9 Questions – 90 Minutes – $90

The 9 questions this workshop will answer:

  1. What are your rights, entitlements, and income participations as a music creator and/or rights-holder?
  2. What are the most common royalty streams generated from a variety of music usage types and where do those royalties flow?
  3. How are music royalties allocated and distributed by music rights organizations?
  4. What are niche funds and sub-funds that often generate unmatched so-called “black box” royalties and how do you check for your records?
  5. How to track music usage to leverage usage and detection reports to reconcile or audit royalty statements?
  6. What are some tools and resources to help you search for, identify, and claim unclaimed royalties and music licenses?
  7. What are the requirements to properly setup to be accounted to and paid royalties from previously unaffiliated sources going forward?
  8. What are some tips for managing your music rights affiliations?
  9. What are some tips for preparing your music rights and royalties for beneficiaries?

REGISTER

Register for Sat. May 18th @ 9am PST

Register for Sun. May 19th @ 9am PST

Register for Mon. May 20th @ 9am PST

If you can’t make either dates, register anyway to receive the full replay video.

Dae Bogan To Moderate Panel On Los Angeles Music Startup Scene With Capitol360, Techstars Music, Expert DOJO, The Rattle LA, And Startup UCLA / Blackstone Launch Pad At UCLA’s Amplifying Music In Our Los Angeles Conference On| May 15th, 2019

https___cdn.evbuc.com_images_59922603_240946904_1_original

Amplifying Music in Our Los Angeles

A Conference Amplifying and Connecting the Music Scenes of Los Angeles

Host: Center for Music Innovation at UCLA Herb Alpert School of Music

Location: Charles E. Young Research Library Auditorium, UCLA North Campus

Time: 9 am – 4:30 pm

Date: Wednesday, May 15, 2019

Cost: Free for Registered Attendees


How can we support Los Angeles’ music scene(s) and work together to continue to create something robust, diverse, and dynamic in this changing era?

This day-long conference expands the conversation of how Los Angeles can grow and connect/collaborate around its diverse music scenes. If other cities are challenged by gentrification in having vibrant live music scenes, (a) why is Los Angeles seeming to be growing, despite these difficulties and (b) how we we enhance and amplify this growth?

Background

This Conference is the second in a series of events that UCLA Center for Music Innovation is holding with this Future of Music in LA focus across 2019 across LA, so we welcome you to be involved in those programs as well.

On February 6th, the City of Los Angeles Department of Cultural Affairs held a half-day Symposium as part of its February COMPOSE LA series of events. With partners that included UCLA’s Center for Music Innovation, they brought together different voices across Los Angeles and music to talk about the future of Music in Los Angeles.

Los Angeles is a complex environment. From panels and provocations, we came up with many things that weren’t right within the overall ecosystems in terms of policy, permitting, and procedures. We also explored our very vibrant environment that seems to be growing — despite the systemic challenges.

The Invitation

We invite the community gather again on May 15th at UCLA to both expand the conversation and to add new voices into the mix. We’re going to include people joining us from video conference from other cities and locations. We’re going to include new parties — and parties with different perspectives. And we’re going to include roundtable conversations, where the conversation will come out into and with the audience.

We invite you to join us for this community event at the Charles Young Research Library at the UCLA campus. The event will be free, along with the support from our community and marketing sponsors.

The Schedule

Sessions and the full schedule will be posted mid-April.

 

FREE REGISTRATION (INCLUDING ONLINE STREAMING OF CONFERENCE)

10 Income Streams For A Music Producer

A breakdown of income you could earn by producing one hit (or at least, viral) record.

Production Icome

1. Production fee for your creative input in producing the track.
2. Recording Engineer fee for performing recording engineer duties in the studio.
3. Mixing Engineer fee for mixing the track.
4. Mastering Engineer fee for mastering the track.

(1-4 could be embodied all in one fee, or you could line item it in your contract and/or invoice.)

Master Income

5. Income share in the master sales, downloads, streams, often referred to as “points on the record.”
6. If you add background vocals and/or live instrumentation to the production, while you may not earn a session musician fee, you are still entitled to receive all or a portion of the non-featured performer share of statutory master royalties for US non-interactive streams, or so-called “digital radio royalties.” To get this, make sure that you are credited not only as a Producer but also as a background vocalist or musician for whatever instrument you played. These royalties in the US are paid out by the AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund. These funds do not reduce the featured artist’s neighboring rights (US = digital radio) income. It is completely separate from the featured performer share of income and non-negotiable by that featured performer. If you don’t claim it, you still earn it but you leave it on the table!
7. Thanks to the passing of the Music Modernization Act, which became law on October 11th, 2018, and the inclusion of the Allocation for Music Producers Act (AMP Act), studio professionals such as producers and engineers have a legal and permanent right to directly collect non-interactive, digital royalties agreed through a letter of direction with the featured artist from SoundExchange. Join the Creative Affiliates Program at SoundExchange and submit your letters of direction.
8. A producer’s share of international neighboring rights royalties in several territories where recordings that you produce are performed on broadcast radio and TV.

Publishing Income

9. If you composed the melody or co-authored the lyrics, you should be considered a Writer on the musical work and be entitled to receive writer-share of publishing income (performance royalties, mechanical royalties, synchronization royalties).
10. If you composed the melody or co-authored the lyrics, as a Writer on the musical work, you are entitled to receive or assign the publisher-share of publishing income (performance royalties, mechanical royalties, synchronization royalties).

In conclusion, if you’re a music producer, make sure that you understand all of the income streams associated with the work that you put in on a recording AND your legal entitlements under copyright law and music publishing industry customs. Also, join the Recording Academy / GRAMMYs Producers & Engineers Wing.

Want to learn more? Download my FREE ebook “The DIY Musician’s Starter Guide To Being Your Own Label And Publisher.”

2021 Prediction: The United States Music Publishing Market Continues To Grow And Fragment, Creating More Silos For Unpaid “Black Box” Royalties — DIY Musicians Hit The Hardest

As the U.S. music publishing industry grows (in terms of revenue, volume of copyrights, and number of income participants), the rights administration and licensing sector becomes ever-more fragmented; giving way to cracks in its foundation through which royalties fall into the so-called “black box” — the industry name for the unmatched and unpaid royalties earned against unidentified works or unidentified or unreachable income participants that accrue in escrow only to be later forfeited and disbursed to entities to which the funds do not belong; primarily major music conglomerates and those acquiring catalogs of copyrights to expand their market share position.

Black Box Royalties Myths, Common Misconceptions Debunked at Music Biz 2018

united states music publishing market music licensing rights administration royalty ecosystem

A picture of a white board illustrating the growth and fragmentation of the US Music Publishing Market, specifically the music licensing and royalty ecosystem, drawn during Dae Bogan’s lecture in his class, “Music Industry Entrepreneurship and Innovation” at the UCLA Herb Alpert School of Music, Winter Quarter 2019

In 1909, when the first federal copyright law that protected music creators and rights-holders was enacted, there were no massive music rights organizations as we’ve come to know them today. Although unions had existed — the American Federation of Musicians was founded 13 years earlier in 1896, but focused more on work conditions than collective bargaining, as it does today — ASCAP was formed in 1914 to license the performing rights of composers, authors, and publishers.

Fast forward to 2021 when the newly formed Mechanical Licensing Collective will issue its first blanket digital streaming mechanical license to the likes of Spotify, Google, and Apple. There will be over a dozen music rights and royalty collection organizations issuing thousands of licenses, administering millions of pieces of copyrights, and processing billions of micro-penny transactions.

Here Are 10 Ways That The Music Licensing Collective (MLC) Can Set The Bar As A Collective Licensing Organization In The 21st Century

The music licensing and royalty ecosystem in 1909: Individual music composers, aristocrats who financed or commissioned works, and sheet music publishers.

The music licensing and royalty ecosystem in 2021: Traditional non-profit and private music rights organizations (ASCAP, BMI, SESAC, Global Music Rights, PRO Music Rights, SoundExchange, Mechanical Licensing Collective), royalty funds (AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund, Alliance for Artists and Record Labels, Film Musician’s Secondary Market Fund, Sound Recording Special Payments Fund), unions engaged in collective bargaining (SAG-AFTRA, American Federation of Musicians), licensing clearing houses and agents (e.g. Music Reports, Harry Fox Agency).

If I wrote a popular commercial song that is exploited to the fullest extent — released on a commercial recording; performed live in concert; licensed for use in film or television; placed in a commercial; earns viral success on user generated content platforms and social music apps; covered many times; embodied in a music video; lyrics printed and sold on merchandise; used for a live broadcast sporting event; added to Spotify and Apple playlists where it takes off; picked up on terrestrial, Internet, satellite, and cable radio; etc. — I would need to ensure that my work is registered at all of the places where the royalties earned from the uses I’ve described are paid; the music licensing and royalty ecosystem. If I do not, then my royalties will leak into the black box.

The black box is estimated at over $2 billion — and growing — of which much of it is due to independent music creators, small music rights-holders, and the estates of deceased authors and performers who do not have the access, power, know-how or market share to navigate the web of black boxes; for which there are many.

Songwriters Are Owed Nearly $2B In Unclaimed Royalties!!! — Maybe More — I’ve Been Saying This For Some Time Now (Against Pushback), But Finally The Press Has Confirmed It

When entities charged with maintaining these black boxes distribute the funds in market share distributions, the major labels and publishers win and the independent and DIY creators lose. It is unfair and unethical. But what are we going to do about it?

Some artists, knowing that they do not know exactly how this all works, have found creative business ways to “make up” for potential lost royalties. But for the rest — the majority — of DIY musicians, they’re generally left out of the discussion and left to fend for themselves, even when they think they’re doing everything right.

What Can The Socioeconomic Context Of The Culture From Which Hip-Hop Is Derived Tell Us About How The Biggest Genre In The World Gets The Shitty End Of The Royalty Stick?

As the industry charges forward with new energy fueled by the growth of music streaming, we have to consider how the continued fragmentation of the music licensing ecosystem affects the most vulnerable — DIY musicians. Major labels have direct deals with DSPs and digital services that pay them advances and account to and pay them royalties. DIY musicians rely on music rights organizations, who are often disproportionately influenced by the majors, to handle these things for them.

Do So-called Music Advocacy Groups Avoid Deeper Discussions On Black Box Royalties To Appease Their Major Members?

I founded TuneRegistry to help DIY musicians be their own advocate, to demystify the music licensing and royalty ecosystem by aggregating the fragmented world of rights administration into one economical platform. To this end, our team has helped hundreds of small to medium-sized music rights-holders and DIY musicians unlock thousands of dollars in new found royalties and to register their works to ensure that they are identified and accounted to in the future. Not all music rights organization have joined our network, but we will continue to advocate and fight for the rights and entitlements of DIY music creators as long as we can.

Dae Bogan’s ‘Music Industry Entrepreneurship’ Class To Return To UCLA Summer 2019

Screenshot (33)

UCLA Summer Sessions​ has confirmed that my Billboard​-recognized course, “Music Industry Entrepreneurship,” will be offered this Summer during Session A.

UCLA, UC, and non-UC students (including individuals who are not enrolled in college anywhere) are welcome. Enrollment is now open at summer.ucla.edu.

The class will meet on Thursdays (June 27 – August 1) from 6pm to 9:50pm at UCLA Herb Alpert School of Music​ with the exception of Thursday, July 4th (there will be a total of 5 class meetings).

Course Description:

From digital-first record labels and music messaging apps to AR/VR (augmented reality / virtual reality) music experiences and blockchain-based music startups, entrepreneurs have been disrupting and innovating across the music industry since the launch of Napster in the early 2000’s. In this course, you will learn and apply principles of entrepreneurship and fundamental business strategies to the music industry. We will analyze case studies and current events and participate in critical discussions around music industry entrepreneurship. Course work will consist of developing business plans, workgroup labs, and building out infrastructure for start-ups that focus on technology and innovation in the music industry; all culminating in the pitch of a fictitious music industry company at the end of the quarter. You will also take away cautionary tales and lessons for success from founder stories presented by guest speakers of music industry start-ups and executives from established music industry companies.

 

Student Testimonial:

Without a doubt one of the most useful classes I have taken in my undergraduate career at UCLA. Professor Bogan has so much real world knowledge and knows how to convey that knowledge in a classroom setting immensely well. All the course material was invaluable to my progression and aspirations of being in the music industry. Every lecture was extremely well-prepared, with amazing guest speakers and information that I will be using for the rest of my life. Professor Bogan did a phenomenal job and I will be recommending this class to all my friends interested in music or starting their own company. Can’t say enough good things about this class. – Anonymous, Student Course Evaluation

Class Detail: https://sa.ucla.edu/ro/Public/SOC/Results/ClassDetail?term_cd=191&subj_area_cd=MSC%20IND&crs_catlg_no=0124%20%20%20%20&class_id=434415110&class_no=%20001%20%20

%d bloggers like this: