The MLC presents Beats & Money: A Music Rights and Royalties Crash Course for Beatmakers
Attention Beatmakers: This one is for you!
The Mechanical Licensing Collective & RME present
Beats & Money: A Music Rights and Royalties Crash Course for Beatmakers
April 12 at 12PM PT / 2PM CT / 3PM ET
Today, there are more beatmakers creating and distributing beats into the global music ecosystem than ever before. While the cost of music production continues to fall, the assortment of creator tools have exploded thanks to innovation in the music technology space; making it easier to create, promote, and collaborate around new beats.
Gone are the days of waiting around to be discovered by a top record label A&R. So-called “bedroom producers” are already connecting with artists and musical groups over social media, beat marketplaces, creator networking platforms and chat rooms. All of this activity has resulted in more beatmakers entering the music business ecosystem and being entitled to certain rights, earning digital music royalties and launching careers. The 2020’s are certainly the decade for beatmakers.
Join Dae Bogan, Head of Third-Party Partnerships at The Mechanical Licensing Collective (The MLC), and Chris McMurtry, VP of Product at Pex and Head of RME, for an insightful crash course on the rights and royalties of a beatmaker and learn how to start properly administering your music to collect your digital music royalties.
Registration: https://themlc.zoom.us/webinar/register/WN_k1jxYD6TSTOiNXgDphj9Eg
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.
#MusicBusinessMonday: Music Producers
Music Producers: You’re often the underdog in the royalty fight. Although the Recording Academy’s Producers & Engineers Wing is pushing for an amendment to the U.S. Copyright Act that would provide an allocation of non-interactive digital streaming royalties (SoundExchange royalties) to producers, no laws currently stipulate that you must receive sound recording royalties from your work when Pandora, SiriusXM, Music Choice, Slacker, iHeart Radio, or any of the other 2,500 digital services perform music that you produced (however, producers can receive publishing income if you’re a “writer” on the song).
So, what’s the solution? How do you make more money from your works when retail record sales royalties are becoming a myth?
Dae Bogan To Teach Workshop ‘Copyrights & Publishing Basics For Music Producers & Recording Engineers’ At The Los Angeles Recording School
Dae Bogan will be conducting two 1-hr workshops (10:30am and 12:30pm) titled “Copyrights & Publishing Basics for Music Producers & Recording Engineers” at The Los Angeles Recording School.
This engagement is private and only available to LARS students.
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