*Yawn*

In the name of good or popular music being created while following the consumer trend, the biggest revenue-producer the 'recording artist' should solely rely on is item #2.

Those who also like to perform live can add #19 as icing on the cake.

A cherry on top might be selling videos.

www.myspace.com/yvesvilleneuve

mechanical royalties are paid to publishers of songs, not artists. though they may be the same person, it's probably important to differentiate them.

Mechanical and broadcast royalties actualy split between the publisher and the songwriter. (may be the same person, and if the artist has written the songs...as you say...may be the same person as the recording artist.)

or maybe the remedy could be to not have the headline "32 ways ARTISTS can make more money," but rather, "ways publishers make money."

What about fan club and premium/VIP experience revenue? Artists with a strong following can make signficant income from their fan club. Also, selling premium tickets and VIP experience packages for their live performances to fan club members.

www.8waystosunday.com

Good point, Amy. We'd categorize income from fan club subscriptions and VIP experiences in the fan funding bucket (point #22). I'll add some language to our documents to make it clear what it includes.

Kristin Thomson/Future of Music Coalition

What, no mention of lyrics licensing revenue? We've paid out millions to publishers - and growing fast every year!

how do you make this lyrics money?  I have no idea where to begin.

Thanks for the reminder about lyric licensing. We'll add it to the list.

This list, which was originally posted on FMC's website in October 2009, is actually part of a multi-pronged research project that FMC is currently conducting regarding musicians' revenue streams.

Clearly, there have been changes in the music distribution landscape in the past decade. Many observers have characterized these structural changes as positive improvements for musicians, particularly when compared with the music industry of yore. While it’s true that musicians access to the marketplace has greatly improved, there has been no systematic attempt to understand if and how artists’ ability to generate revenue based on their creative work has changed in this new environment.

This is why we have launched the Artist Revenue Streams project, a multi-method research initiative to assess if and how musicians' revenue streams are changing in this new music landscape.

You can learn more about the research components and methodology on the project's page here.

http://futureofmusic.org/article/research/artist-revenue-streams

or on a recent blog post on the FMC site

http://futureofmusic.org/blog/2011/01/31/fmc-launches-artist-revenue-streams-project

 Kristin Thomson/Future of Music Coalition

Kristen, 

I just asked Darryl Ballantyne @Lyricfind if he'd share more on the best ways for artists, labels, etc. to capture lyrics revenue streams.  He's agreed to guest post, so perhaps we can add that to the knowledge pool.

/pr

Umm seriously?

Absurd and outdated don't even begin to cover these ideas...

this pre-historic thought process is exactly why the industry has crumbled.

Aimee R. had more relevant thoughts in her comments...

like any other business you have to transform your model and embrace the consumer's wants & needs, you have to adapt to the economic climate of the present, not use worn out ideas from the past.

To be successful, you have to concentrate on both new media and so called traditional media sources of income combined.

It is not an "either or world"; it is not a "digital vs. non digital world"...It is a world of both.

All are essential for a career and all make up the all important royalty stream needed by artists and writers.

Whether it's licensing for motion pictures, television, commercials, the Internet, Broadway, downloads (both permanent and limited), streaming (both interactive and non interactive), karaoke (Internet vs physical), performances, video games, lyrics on jeans, singing toys, pre-programmed smart phones, subscription services, etc,. etc., etc.,....the list of potential income producing areas is literally endless and expanding everyday.

You had better know the rules and how things work though...as things in the world of music are getting more and more complicated....But the money is there and it continues to be a world and business of unlimited opportunities for both income and artistic satisfaction.

for thanks..

Thanks for posting this great info.

One little known niche addition to #29 is music preparation (copying, orchestrating) for TV/Film. If done under AFM contract, copyists and orchestrators can participate in back-end profit sharing. However, this is changing too. More and more TV/Film music work is being done non-union.

Eric Jensen

www.ericjensenmusic.com

22. Direct financial support from fans/patrons.

Extremely underrated income stream. Many unknown artists are making a full-time living out of their music through premium subscription services. A great case study for this is Matthew Ebel. Ariel Hyatt wrote an article about him on Music Think Tank:

http://www.musicthinktank.com/blog/in-defense-of-1000-true-fans-part-ii-matthew-ebel.html 

ALSO

If you get the chance, please check out my personal blog at http://jameschatman.wordpress.com/

nice tips to make money! i wish i could too.. rhodes