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Royalty Claim’s Full Presentation At The Music Industry Research Association Conference

Royalty_Claim_Founder_Dae_Bogan_at_MIRA_Conference

Royalty Claim attended the Music Industry Research Association‘s first inaugural MIRA Conference at the UCLA Luskin Conference Center this week. Royalty Claim’s Founder and Chief Researcher, Dae Bogan, MIA, had the honor of presenting a preview of our in-progress The State of Unclaimed Royalties and Music Licenses in the United States report before an audience of economists, sociologists, and researchers from universities and institutions from around the world, as well as music industry executives representing firms such as Nielsen, Pandora, Universal Music Group, and Warner Music Entertainment.

For the first time, updated statistics regarding the filing of “address unknown” Section 115 NOIs on the US Copyright Office during the first half of 2017 was revealed. Insights included an overview of the organizations that have utilized the procedure, including Amazon, Google, Spotify, iHeart Communications, and Microsoft. However, those large music users were expected. Interesting inclusions to the list were The Recording Academy and the Christian music service, TheOverflow and interesting omissions from the list are platforms that boast millions of tracks — Apple and Tidal — but may not be reaching every independent rightsowner that may have compositions available on those platforms.

A slide from the “[Preview] The State of Unclaimed Royalties and Music Licenses in the United States” presentation at MIRA Conference.

A slide from the “[Preview] The State of Unclaimed Royalties and Music Licenses in the United States” presentation at MIRA Conference.

The presentation also discussed the nature and causes of so-called “Black Box royalties”. A black box is an escrow fund in which music royalties are held due to an organization’s inability to attribute the royalties earned to the appropriate payee. Examples were given, including unattributed advances from DSPs to music companies, the US’s limitations on sound recording rights, and other issues.

A slide from the “[Preview] The State of Unclaimed Royalties and Music Licenses in the United States” presentation at MIRA Conference.

 

The presentation concluded with a video demo of the Royalty Claim Platform, which received positive reviews from conference attendees. The full presentation is  here.

Royalty Claim Pre-launch Is Just 7 Days Away!

Unclaimed Royalties Database

The Royalty Claim researchers and data scientists (aka “nerds”) are racing against the clock to finalize the processing of several million remaining records of unclaimed royalties and music licenses so that you and thousands of music creators and rights-holders like you can search and find potential entitlements.

Plainly, we’re trying to get you paid!

With an estimated over $2.5bn in unclaimed royalties sitting on the YUGE greater music industry table, there is no better time to shine a light on the inefficient royalty payment ecosystem than now. Royalty Claim’s Unclaimed Royalties database currently has tens of thousands of payees (individuals and entities) to which royalties are due (from Pandora, SiruisXM, Music Choice, iHeartRadio, and over 2,000 other webcasters, digital radio platforms, and foreign companies). If you’ve ever had music on digital (Internet, satellite, cable, retail music transmission), you may have royalties waiting for you.

We are happy to announce that, with the assistance of our cousin company TuneRegistry,  rights administrators such as Harry Fox Agency(represents Spotify, Apple, Napster f/k/a Rhapsody, The Orchard and 7Digital), Music Reports Inc. (represents Amazon, Microsoft and iHeart Media), and Loudr (represents CD Baby and Distrokid) have come on-board to cooperate with our Section 115 NOI claiming process and help match over 40 million outstanding NOIs with copyright owners. (In simple terms, when a copyright owner finds a Notice of Intention in Royalty Claim and completes the claim process, they may unlock back royalties owed to the copyright owner by digital music services and open the flow of future royalties.)

SO, WHAT’S NEXT?

Royalty Claim will pre-launch on August 10th. This is for anyone who pre-registered at www.royaltyclaim.com/comingsoon.

Those who’ve pre-registered will be able to secure a Life-time Standard Subscription to Royalty Claim for only $150 (in comparison, a monthly Standard subscription is $15 per month or $180 per year). You will receive an email the morning of August 10th with instructions on how to obtain this limited offer.

Royalty Claim’s official launch will be on September 1st. At that point, anyone can join for FREE or choose any of the premium plans on http://www.royaltyclaim.com.

Please spread the world. Our official hashtag is #UnlockMyRoyalties

Tweet and Post: So excited for the launch of @RoyaltyClaim and access to over 40 MILLION records of unclaimed music royalties & licenses. #UnlockMyRoyalties

 

Learn More

 

Upcoming Event in Los Angeles

Royalty Claim’s Founder & Chief Researcher, Dae Bogan, will be presenting our The State of Unclaimed Royalties & Music Licenses report on Friday, August 11th at the Music Industry Research Association’s MIRA Conference at the University of California, Los Angeles. Details at www.themira.org

 

Spotify Moves Spotify Ad Studio Into Beta – Opens Up To Indie Artists & Managers

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I’ve been hearing that Spotify​ is rolling out their BETA for their new Spotify Ad Studio, which they are comparing to Google Adwords and Facebook. Some artist managers I’ve spoken with are already in the beta and using it to run ad campaigns on Spotify.

One manager posted in a group that I’m in:

Everyone go to adstudio.spotify.com and check it out for yourselves. Apparently I already have access. The targeting doesn’t get as fine as Facebook, for example, and there’s a $250 minimum spend which gets about 10,000 airings at $0.025 each. There’s also a $5,000 maximum, I presume per campaign, and above that you’re getting into their Spotify For Brands territory which has a $25,000 campaign minimum spend.

They also specify that they don’t currently support driving traffic to songs or playlists. Their ad objectives are ‘Announce an event,’ ‘Raise brand awareness,’ ‘Drive people to my website,’ and ‘Other.’

If you’re interested in advertising content, they encourage you to email adstudio@spotify.com

Want to learn more, here’s a Google Doc with FAQs:

https://docs.google.com/document/d/1fJy2Oa5wfIjC_JSU4CaMwsEI7foZmvsNajv1gbyTtXA/edit#heading=h.b2gzvaa9sgx

The Elephant In The Room: Unclaimed / Undistributed Royalties

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In the United States, there are several “unclaimed / undistributed royalties” funds held by music rights organizations. These funds collectively consist of tens of millions of dollars in undistributed earnings generated by the use of music within the greater music industry, from legislative appropriations imposed on manufacturers of audio home recording media, and from agreements with foreign entities.

Some of the organizations (SoundExchange, AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund, Film Musicians Secondary Markets Fund, Live Television Videotape Supplemental Market Fund, and although this is not royalties per say, the US Copyright Office has a Section 115 NOIs Filing database that can be used to track down missing mechanical royalties) have created public databases so that music creators can search to see if they have royalties sitting in these funds. However, the biggest funds do not have public databases and often music creators can not be reached by any of these funds to be notified that they have unclaimed royalties.

I am working on a side project called RoyaltyClaim.com to address this issue of unclaimed / undistributed royalties. The goal is to get each of these funds to join the RoyaltyClaim.com Disclosure Program and to encourage them to submit very basic information to us on a periodic basis regarding the income participants who are due royalties. We will then aggregate these disclosures and maintain one searchable public database accessible for free by music creators and income participants.

By aggregating these lists of unclaimed / undistributed royalties information, we can aid income participants — including songwriters, recording artists, publishers, labels, musicians, background vocalists, composers, and beneficiaries (in the event of musician parents or spousals who passed away, but their music still generates royalties) — in locating and claiming their monies.

If you are a music creator, you should signup at RoyaltyClaim.com to be notified of our launch. We are currently in conversations with the various funds to get them to cooperate and help creators and their families.

Teen-Focused App Musical.ly Is the Music Industry’s New Secret Weapon | VICE | United Kingdom


Awesome article by Vice on how young singers and rappers are using musical.ly to build fanbases, promote new music, drive engagement and sales, and generate buzz that has led to record deals, radio airplay, and ranking on Billboard charts.

Are any of you using musical.ly as a part of your overall digital strategy? If so how and what results have you seen? 

Impressive app sets for a music tech startup:

Musical.ly boasts more than 11 million video uploads per day from more than 120 million users worldwide; 64 percent of the app’s American users fall within the coveted 13–24 demographic, and 75 percent are female. Hoping to capitalize on that audience, Dae Dae debuted a 15-second snippet of “Wat U Mean” on musical.ly in August; to promote it, he hosted an in-app contest challenging listeners to make a music video of themselves performing his signature dance, where he languidly swings his arms in the air to the song’s staccato “Aye” shouts. Since its inception, the challenge has yielded a staggering 153,719 responses, with scores of newly won fans performing their own renditions of the “Aye” dance.

Read full article: http://www.vice.com/en_uk/read/the-social-media-app-musically-is-changing-music-marketing-v23n07

[VIDEO] Watch How TuneRegistry Can Help Indie Music Creators Protect Music & Unlock Royalties

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Are you an indie artist looking to unlock additional income streams from your music?

Are you a band confused about what rights each member owns and how to protect them?

Are you a manager looking to save time and streamline reoccurring music industry administration tasks?

Are you an indie label or publisher looking for a better way to organize your company’s catalog in a collaborative space?

TuneRegistry is a next generation music management platform that enables creators and rights-holders to streamline the administration of their music catalogs.

Check out this tutorial reel to see how TuneRegistry can help you.

Learn more at www.tuneregistry.com.

Breaking Bread, Giving Bread Crumbs: The Challenge Facing Beyoncé, Drake, And 150 Other People

Beyonce and Drake

Between Beyoncé’s “Lemonade” and Drake’s “Views” albums, there are over 150 writers and producers credited across their combined 32 tracks.

I can only imagine the music compensation nightmare that will ensue over the next 12 months as streaming, DPD, and airplay royalty checks start to go out to the multi-national team of creators and rights holders.

Who is responsible for ensuring the accuracy of rights holder information across all tracks? Who is checking that digital music services have complete metadata to match sound recordings to their underlying compositions? Who is accounting to the background vocalists and session musicians?

Did every producer and engineer secure letter of directions from Beyoncé and Drake to properly claim a portion of Pandora payouts? Who is looking after the contributors who do not have multinational publishers? Will they capture their piece of neighboring rights, DART royalties, or Spotify mechanicals?

Who will lose out due to inefficiencies? Who will have money left on the table due to an inability to properly claim and collect?

These are the questions that we ask ourselves at TuneRegistry and why we’ve built the next-generation music rights & metadata management platform to empower creators and rights holders.

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