Why I Founded TuneRegistry

When I managed artists, I made this “Song Processing Checklist” to keep track of everywhere that I was aware of to register my artists’ music. It was daunting. TuneRegistry simplifies this.

Nearly 10 years ago I founded my first music company. It was called Renaissance Artist Management (RAM Artist) and I managed DJs who I had for several years prior booked often to play club events that I produced while in undergrad at UCLA. Some of these DJs were also aspiring music producers, so later I launched Loft24 Records and Loft24 Publishing to help them collaborate with artists and topliners. I picked name Loft24 because I was 24 years old and I lived in a loft in Downtown Los Angeles, which had been a goal of mine since my youth (I have no idea why). I had also signed my first two live acts – a singer/songwriter and a rapper/songwriter — after producing a multi-city mall talent search tour for Reebok…they were the winners.

Prior to founding RAM Artist, Loft24 Records, and Loft24 Publishing, I had some music business exposure having grew up in a multi-generational music family and having been an aspiring musician myself, but my knowledge was nowhere near as expansive as it is today (insert a lot of self-teaching and an eventual masters degree in music business).

One of the things I was really good at as a manager and music entrepreneur was creating systems and processes to make workflows efficient. This was necessary considering all of the tasks I had to juggle as an artist manager, label owner, and music publisher. And I had a daytime job as VP of Marketing & Partnerships of a youth-targeted retail chain and founder/GM of its music division.

I had previously built database-driven e-commerce systems at two companies where I had worked in marketing; and with a history of event production, I was generally a very logistical and process-oriented person.

At the time that I was managing artists, DJs, producers, songwriters and marketing music, I was unaware of software that would make my life easier in these administrative tasks. So, I built my own.

I had previously developed a checklist of everywhere that I was aware of where my client’s music needed to be registered before it was released. I used this “Song Processing Checklist” for every work in our catalog. I’d manually login to ASCAP and the Copyright Office systems to register works and record confirmation numbers. It was daunting!

To pitch our catalog, I built an internal platform called “Music Licensing Portal” (basically an early version of what DISCO or SourceAudio is today). I’d invite music supervisors to search our catalog and initiate sync license requests.

Then I built what would be my first music tech startup, SongBank, a marketplace where A&R’s could shop for unpublished songs using an audio fingerprint of a reference songs. SongBank was described as a robust cloud-based project management platform developed specifically for songwriters and record label A&Rs (I’m still unaware of anything like it on the market). I wanted to help undiscovered songwriters get placements on major label projects after my experience pitching my writers to A&Rs. I had brought on advisers who were A&Rs or VP of A&R at Hollywood Records, Island Def Jam Music Group, Roc Nation, and Atlantic Records. I later stopped working on SongBank to launch Maven Promo (formerly ChazBo Music), which is an in-store independent music video network, which I sold to EMPIRE Distribution last year to fund the development and launch of RoyaltyClaim, the world’s first search engine of unclaimed music royalties, which I later sold to Haawk Inc and then to Made In Memphis Entertainment this year.

All of this leads me to this: TuneRegistry.

TuneRegistry is a software like no other. I conceptualized it based on all of the above experience (although I had been working on it prior to RoyaltyClaim). What started as a Word Doc checklist of places to register my client’s songs has evolved into a robust software to streamline the process of registering works across rights organizations, delivering music metadata across the music industry, the management of disputes and conflicts, and the insurance of royalty accountability, all in one place.

We had a setback for a few months, when I had to buy the company back from a company that had acquired it in 2017, but will be launching an new and improved platform on October 1st and I can’t wait

(Photos below are of the tools and platforms that I referenced above. I built these in my early twenties to operate my music companies and manage my clients’ careers more efficiently.)

Why So Many Hip-Hop Producers Are Putting Business Before Beats

I shared my thoughts on music business for Hip-Hop producers in this piece by Cherie Hu for Pitchfork:

“The way many of these companies are trying to match and verify their data? Hundreds of emails,” says Dae Bogan, founder and CEO of TuneRegistry, a rights management platform for indie artists. “Many labels are still using old software and systems to manage their digital catalog, and their rights department is different from the one responsible for metadata, which is different from the one responsible for collecting royalties. There’s a lot of bureaucracy involved.”

Read the full piece here.

Dae Bogan To Join Panel On Artist Management In The Streaming Era At The Business Of Music Conference

dae bogan at the business of music conference

I am looking forward to joining a number of colleagues at Music Industry Quarterly Magazins (MIQ) & Urban Network Digital’s the 5th annual The Business of Music Conference and speaking on the panel “Managing Artists in the Streaming Era”.
Digital streaming is one of the most important arenas in all of the music buisness. We will discuss the variety of streaming options, subscription services, breaking new artists, royalty options, and the power of playlists.

 

Panelists:
  1. Dae Bogan, Founder & CEO at TuneRegistry
  2. Erika Bennett, Global Head of Marketing, Original Content at YouTube
  3. Neil Dominique, Artist Management (Bryson Tiller, Ayo the Producer, Partison Fontaine)
  4. Nolan Smith, Artist Management (Super Duper Kyle)
  5. Ronette Bowie, Enigma Music Management
  6. Shari Hoffman, CEO at Transparence Entertainment Group

Dae Bogan To Join Panel On Blockchain At Guild Of Music Supervisor’s State Of Music In Media Conference

ViewFromHere

I am looking forward to speaking at the Guild of Music Supervisor’s ‘State of Music in Media’ Conference on September 15th at University of Southern California.

Along with Erin Collins (SESAC) and Thomas Golubić (Music Supervisor), I will be discussing on the panel “View From Here” blockchain technology and the possible impact it may have on how artists are paid, how performance royalties are tracked, what impact it may have on music licensing and other issues that may emerge from this exciting new technology.

What would a music streaming world look like without playlists?

cassette

Artists, managers, labels, and the entire industry has shifted its obsession with radio programming to playlist curation; and in doing so has lost its collective respect for the craft of songwriting, the art of music production, and the deep connection that comes from a truly engaged and evangelical fan base.

Has the industry become so obsessed with virtual real estate (placement/positioning on playlists), metrics, and convoluted KPIs such as followers and saves that we’ve killed the spirit of why we do what we do?

Asking for 1 Million aspiring artist friends around the world who’ve yet to be jaded by what’s happening to our industry.

Let’s talk honestly about the culture and ethos of what we’re building in this great Digital Streaming Music Era…

Los Angeles Music Industry Upcoming Networking Events

daeboganmusic.com music events los angeles music industry

If you work in the music industry in Greater Los Angeles, here are a few upcoming must-attend networking events and communities to join (am I missing something? post in the comments).
• 8/27 – A2IM – Monthly Indie Mixer at Checker Hallhttps://www.eventbrite.com/e/la-a2im-monthly-indie-mixer-august-tickets-48614604591
• 8/28 – The California Copyright Conference – Summer Networking Mixer at Palihouse West Hollywoodhttps://theccc.org/events/summernetworkingmixer/
• 9/10 – Los Angeles Songwriters Collective at TeaPop – https://www.facebook.com/lasongwriters
• 11/8 – A2IM – SynchUp at Annenberg Community Beach Househttps://www.a2imsynchup.com/
Honorable mentions:
Industry Talks (curated by Kyle Emerson-Brown) – Just missed their Industry Talks Presents: Hear It Now, but more will be coming out of this camp so follow their page. Industry Talks connects amazing humans pursuing their passion in the music business. From label, management, press, legal and talent-buying executives to artists, writers and producers, Industry Talks is an extraordinary monthly evening of conversation and dinner. A positive environment through which we explore the current and future state of music, we foster support, connection, innovation and mobility. Discussion topics include management, artist rights and development, marketing, branding and tour promotion.
SoCal Music Industry Professionals (organized by Dae Bogan) – The last SCMIP’s Music Industry Happy Hour 10th Edition was an epic networking mixer at The Bungalow Santa Monica. Join the group to connect and network. SoCal Music Industry Professionals (SCMIP) is a networking group for Music Industry Professionals (MIPs) living in Southern California. The purpose of this group is to create spaces (online and offline) where current MIPs network, share and gain industry insights, develop and nurture new relationships, and simply be a part of a community of professionals.

Dae Bogan Included In Bobby Owsinski’s ‘The Music Business Advice Book: 150 Immediately Useful Tips from the Pros’

bobby owsinski dae bogan

Bobby Owsinski is one of the music industry’s greats. His ability to curate music industry knowledge into easy-to-ready texts across his over 20 books has helped thousands of music creators and music industry professionals in their careers. I’ve had the pleasure of being on Bobby’s podcast, Inner Circle, and participating on several music conference panels with Bobby. He is truly an inspiration. In fact, it was partially my participation in the making of his book “Music 4.0: A Survival Guide for Making Music in the Internet Age” that inspired me to write my first, very short, ebook “The DIY Musician’s Starter Guide To Being Your Own Label & Publisher.”

I am honored, once again, to have been included in Bobby’s latest book, “The Music Business Advice Book: 150 Immediately Useful Tips from the Pros,” available on Amazon.

About the book:

The music business can prove to be a difficult career road when you’re first starting out, but it can be traveled a lot easier with some helpful guidance from a pro who’s willing to share a few hard-earned hints. The Music Advice Book is a compilation of the pearls of experience from 130 top music pros from various segments of the industry who have previously shared their most important tips on Bobby Owsinski’s Inner Circle Podcast over the course of almost 5 years.

These 150 tips cover everything from following your passion, learning to network, and working well with your musical team, to owning your own content and even figuring out how much to charge for your services. Also included are even some useful music production words of wisdom, as well as the indispensable “10 Rules Of Networking.”

The insights in The Music Business Advice Book are essential for those new to the music industry but valuable to seasoned pros as well.

Another Music Modernization Act Opinion Piece

Some music industry executives believe that my position on many issues affecting music creators is too bullish. They dismiss my analyses as sensationalism. They believe, or are at least silent on the notion, that demanding the fair and equitable treatment of middle-class songwriters and recording artists should come with exceptions that disproportionately benefit corporations: major publishers and digital service providers.

But I am a copyright purist.

I believe that the authors of copyrighted musical works — songwriters — should have more say in the way in which their creations are valued and monetized in the marketplace. I do not believe in trickle-down economics or its promise that what’s best for the few at the top will benefit the majority at the bottom.

Greed disproves this all of the time.

Greed is asking songwriters to forgo the potential financial upside of bringing forward legitimate claims of past copyright infringement while simultaneously telling the songwriter community that monies that may become due to them could be redirected, by market share, to the few at the top who negotiated the preemptive dismissal of claims in the first place. Greed is telling artists to campaign for a piece of legislation that will reduce the number of entrants into the on-demand streaming market while simultaneously controlling/dominating the editorial opportunities of the DSP incumbents, greatly reducing opportunities that would otherwise be made available to emerging artists by startups that wish to partner with and elevate emerging artists.

I do believe that the Music Modernization Act will pass. I just hope that the decision-makers give some real thought to the millions of up-and-coming music creators who are not represented by the individuals who wrote the legislation that’ll change the way their copyrights will be exploited in the U.S.

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