Happy New Year Songwriters! You’ve Got New Royalties
Happy New Year Songwriters & Music Publishers!
Take note of the new mechanical royalty rates that are now in effect for the use of your songs in the United States:
As of January 1, 2023, royalty rates are as follows:
• Physical / Permeant Download: 12¢ per minute or 2.31¢ per minute or fraction thereof, whichever amount is greater
• Interactive Streaming / Limited Downloads / Locker Services / Other Digital Deliveries: 15.1% of Service Revenue or Total Content Cost Prong Calculation, whichever amount is greater by offering.
As a reminder, if you own the publishing in your songs, you may be eligible to join The Mechanical Licensing Collective to get paid directly 100% of your digital audio mechanical royalties. This is a separate royalty stream, which your PRO (ASCAP / BMI / SESAC) does not collect or pay out. You earn two songwriter royalties when your songs are streamed on Spotify, Apple Music, Tidal, and other digital music services. You earn a performance royalty (ASCAP, BMI, SESAC) and a mechanical royalty (The MLC).
Learn more about The MLC at http://www.themlc.com and join for free today!
About The MLC in 60 Seconds:
DJs, You’re Next
DJs, You’re next! 😊
After 10+ years of building software to help recording artists, songwriters, composers, lyricists, background vocalists, session musicians, independent labels, and music publishers with their music copyrights and royalties; and on the back of helping thousands of the aforementioned administer thousands of copyrights while unlocking tens of millions of dollars in royalties, it’s time to turn my attention to another group of underserved music creators: DJs
There are over 13,000 DJs in the United States and over 56,000 DJs around the world.
There are more DJ/Producers collaborating with independent music creators and influencers than ever before, and DJ/Producers creating new expressions of original music and derivative works for which they often undervalue and underrepresent their own rights and entitlements (that’s if they’re even aware of their entitlements).
I entered the music industry in 2008, while a senior at UCLA, when I formed Renaissance Artist Management (RAM Artist) and began representing DJs, DJ/Producers, and DJ/Remixers. From local up-and-coming DJs to GRAMMY-nominated festival DJs, I’ve had the pleasure of advising, representing, educating, and collaborating with DJs of all walks of life.
Over the past few years, I’ve been privately advising a number of DJ/Producers on their business and careers. From helping to clear samples, to advising remix negotiations, to pitching mix sets to DJ playlists, to web3 experiences (metaverse and NFTs), to setting the music rights administration plan for collaborations on original songs I’ve been having fun guiding and advising a small group of DJ friends.
Now, I’m looking to my next side project: DJ Music Rights
If you’re a DJ/Producer or represent a DJ/Producer, sign up to be the first to know about my forthcoming side project at http://www.djmusicrights.com
[Video] Dae Bogan Talks Music Creators’ Rights On Aljazeera
I set down with Aljazeera news to talk music creators’ rights and the ownership of their intellectual property. Check out the piece via the link below. I first appear at 3:36.
Here’s Why Taylor Swift And Drake Don’t Own Their Music https://youtu.be/WHmy9lSML3c
[Video] Symphonic Distribution x The MLC Live Q&A with Dae Bogan
Did you know that there is over 424 million in unmatched royalties that The MLC is looking to pay out? Join Randall Foster & Dae Bogan as they dive deep into the world of publishing.
Watch: https://youtu.be/EhxljeejSqI
[Video] Artist Managers Connect presents AMA About The Mechanical Licensing Collective with Dae Bogan
Is the blanket license royalty rate determined after the majors have negotiated their license with the DSPs?
Does registration with the MLC supersede registrations with HFA and MRI?
If a song was previously licensed under the voluntary license, does it now have a secondary revenue to coming from the blanket license, or do you have to choose one path over the other?
Will the MLC establish reciprocal mechanical collections with foreign mechanical CMOs such as MCPS and AMCOS?
Watch me answer these questions and many more from artist managers in my “Ask Me Anything About The Mechanical Licensing Collective”
Watch: https://youtu.be/Kz43LyYXMUI
[Video] Dae Bogan In Conversation With Damien Ritter of Music Entrepreneurship Club on BeatStars Live
Watch the recording of the conversation.
Damien Ritter interviews Dae Bogan on The Mechanical Licensing Collective for Music Entrepreneurship Club on BeatStars Live.
[Video] Songtrust Presents ‘Let’s Talk Music Publishing: The Mechanical Licensing Collective (The MLC)’ With Dae Bogan
Watch the recording of Songtrust’s webinar.
Description: With the beginning of the new year, as the initiation of The Mechanical Licensing Collective (The MLC) begins, songwriters have a lot of questions about how this will affect them in 2021 and beyond. Join the Songtrust team, along with special guest Dae Bogan, Head of Third Party Partnerships at The MLC, to discuss everything you need to know about The MLC and their relationship to Songtrust.
What I’ve Been Up To At The Mechanical Licensing Collective
Today, The Mechanical Licensing Collective (The MLC) announced that it has partnered with software companies in the music rights space.
This is the first significant announcement that sheds light on the work I’ve been doing in my role as Head of Third-Party Partnerships at The MLC.
I am thrilled to announce the addition of four new partners to The MLC’s Data Quality Initiative (DQI); an initiative that enables music rightsholders to assess in bulk the state of their catalog data as it appears at a music rights organization.
The addition of Blokur, EXACTUALS LLC, Music Data Services, and TuneRegistry to the DQI demonstrates The MLC’s commitment to engage companies and organizations at all levels of the music rights ecosystem to ensure that songwriters and music publishers have the information and resources they need to more efficiently administer their musical works in the United States. These four companies are aligned with The MLC’s intent to improve the ways in which music data is managed between rightsholders and a music rights organization.
I look forward to announcing more partnerships across a variety of initiatives in the months and years to come as we develop The MLC into a leading 21st century music rights organization and improve the accuracy with which songwriters and music publishers are accounted to and paid US digital audio mechanical royalties.
[Rewind] On This Day Last Year I Spoke At The Library Of Congress
On this day last year, at the invitation of the Honorable Steve Ruwe, a United States Copyright Royalty Judge, I went to Washington, D.C. to participate in the U.S. Copyright Office’s Unclaimed Royalties Study Symposium and speak at The Library Congress on strategies for the effective outreach and engagement of music publishers and independent songwriters. A few months later I joined The Mechanical Licensing Collective as its Head of Third-Party Partnerships to develop and execute strategies to reach and empower music publishers and independent songwriters, composers, and lyricists.
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