Next Big Sound (a/o June 18th):
This has become a running list from the Future of Music Coalition (FOMC), which now counts 42 different, discrete revenue streams that artists can exploit. Take a look; add your own.
Songwriter & Composer RevenueBulk payment to songwriter/composer as part of a publishing deal.
Paid to: songwriter composer by publishing company.
Rate: varies according to deal.
Royalties generated through the licensed reproduction of recordings of your songs — either physical or digital.
Paid to: songwriter/composer by publisher, label, Harry Fox, or digital aggregator like CD Baby.
Rate: 9.1 cents per manufactured copy of song/composition.
Typically a request from an ensemble, presenter, orchestra or other entity for a composer to create an original work for them.
Revenue generated when your songs are played on radio, TV, in clubs and restaurants. Paid to songwriter/composer/publisher by ASCAP/BMI/SESAC.
Typically a commercial request to compose an original jingle, soundtrack, score, or other musical work for a film, TV or cable show, or an ad agency.
Typically involves licensing an existing work for use in a movie, documentary, TV, video games, internet, or a commercial. Paid to songwriters/composers either via publisher or record label, or via a direct licensing deal with the licensee (movie studio, ad agency, etc) if you are self-published..
Revenue generated by the sale of songs/compositions as sheet music. Paid to songwriter/composer by publisher, or directly from purchasers if you are selling it on your website or at performances..
Generated from licensing your songs/compositions for use as ringtones. Paid to songwriter/composer via your publisher, your label or Harry Fox..
Awarded by ASCAP to writer members of any genre whose performances are primarily in venues outside of broadcast media.
Payment from publishers to writers for litigation settlements.
Performer & Recording Artist RevenueIncome earned as a salaried member of an orchestra or ensemble.
Revenue generated from playing in a live setting (for non-salaried players).
Paid to artist as part of signing a deal.
Money from label for recording or tour support.
Revenue generated from selling physical music in retail stores or via mailorder. Paid to artist/performer by your label, or digital aggregator like CD Baby.
Revenue generated from selling music digitally/online. Paid to artist/performer by your label, or digital aggregator like CD Baby or Tunecore.
Revenue generated from selling recordings of music at shows/live performances. Paid to artist/performer directly by fans.
Revenue generated when your music is streamed on on-demand services (Rhapsody, Spotify, Rdio). Paid to artist/performer by your label, or digital aggregator like CD Baby or Tunecore.
Revenue generated when your sound recordings are played on internet radio, Sirius XM, Pandora. Paid to performers by SoundExchange.
Collected for digital recording of your songs, foreign private copying levies, and foreign record rental royalties, distributed to US artists by AARC.
Collected for the foreign performance of your recordings.
Paid to performers on recordings used in TV and other secondary uses.
Paid to performers for the sales of recorded music.
Payments paid to performers when a recording hits certain sales plateaus.
Payments from labels to recording artists for litigation settlements (MP3.com, Limewire).
Session Musician RevenueRevenue paid to you for playing in a studio. Paid by label, producer or artist, depending on situation.
Revenue paid to you for playing in a live setting. Paid by label, producer or artist, depending on situation..
Payments from the AFM/AFTRA Intellectual Property Rights Distribution Fund, which distributes recording and performance royalties to non-featured artists.
Knowledge of Craft: Teaching & ProducingRevenue generated from teaching your musical craft.
Money from producing another artists’ work in the studio or in a live setting.
Brand-Related RevenueRevenue generated from selling branded merchandise (t-shirts, hoodies, posters, etc.). Paid to artist/performer by fans.
Money directly from fans who are subscribing to your fan club
Shared advertising revenue, paid to partners by YouTube
Or other miscellaneous income from your website properties (click-thrus, commissions on Amazon sales, etc.)
Payments from a brand that is licensing your name or likeness (video games, comic books, etc)
Payments from a brand for you endorsing or using their product
In television, movies, commercials
Fan, Corporate, & Foundation Funding
Money directly from fans to support an upcoming recording project or tour (Kickstarter, Pledge Music)
Corporate support for a tour, or for your band/ensemble
From foundations, state or federal agencies
Other Sources of RevenueMoney paid to you specifically for managing the administrative aspects of a group that you are a member of.
Visitor Wednesday, February 15, 2012
Keep in mind that these are entirely recoupable.
Paid to artist as part of signing a deal.
Money from label for recording or tour support.
Iain Scott Wednesday, February 15, 2012
Try getting the same deal from a bank.
luispagan Saturday, March 10, 2012
Maxwellian Wednesday, February 15, 2012
The minute the artist is memorizing all of these is the minute they stop focusing on their music. You need good labels, good managers you can trust.
PartlyCloudy Wednesday, February 15, 2012
Are labels and managers even *aware* of these channels? Seems like I don't hear much about most of these.
So and So Wednesday, March 07, 2012
This guy is probably a manager.
@JuliaPalacios Thursday, February 16, 2012
Tomen Nota!
@Rekcutrev Thursday, February 16, 2012
Great list. Anything missing?
@wyking Thursday, February 16, 2012
Acting? Really?
@UndergroundMgmt Thursday, February 16, 2012
Not all of these are realistic these days.
Lou Thursday, February 16, 2012
#2, Mechanical Royalties - does the phrase "manufactured copy" include sales as downloads, which are not actually manufactured, merely transmitted??
The term needs to be changed to "copies sold" I think.
Patrick Landreville Sunday, February 26, 2012
Doing All=Doing None Well Thursday, February 16, 2012
So cool how there are no expenses, start up costs or downsides to any of these.
I'm going to start a nuclear reactor in the middle of Central Park because they generate a lot of money.
Thanks for the music tips!
DJ_Random Thursday, February 16, 2012
so whats the catch ?
Anand Thursday, February 16, 2012
This is impossible for a musician. Today - more than ever an Artist MUST get signed or have some way to "make money" to Spend money, similar to a poloitical campaign The minute we Artists start concenttrating on other stuff, as mentioned in a comment, we will drop the ball with our craft. I know. For 8 years I practiced close 10 HOURS a day. This past year trying to do all of the above, I barely practice 10 MINUTES a day and still cant get ahead in music. Oh yea, and my group has been "on the verge" of "something happening" for oever a year now. I've grown tired as expected.
Anand
the Plants Music Factory
NWT Thursday, February 16, 2012
Visitor Sunday, February 19, 2012
you need need to hear Martin Atkins' presentation from SF Music Tech Summit http://bit.ly/wgws2I
Visitor Thursday, February 16, 2012
I think you may have left one out . . . There are many musicians that start out their career "Busking" that is playing in public for tips. Just an idea for those people that want to try their skill in front of a "Real Audience" it costs nothing to start , and some make a pretty decent amount of money . . . If nothing else , you will get pleanty of practice.
cipher Saturday, February 18, 2012
Been working out approx. what I made by busking as a young man.... and per hour I made more busking than on stage...sometimes up to $200 per day. It was fun...no band members not turning up for gigs...no venues not paying ...etc etc...and the girls ...well we won't talk about that.
cipher
@dannydccarter Thursday, February 16, 2012
Another good read for all up-and-coming artists.
@CariCole Thursday, February 16, 2012
Don't make excuses, make money!
Chicharron Friday, February 17, 2012
Should musicians expect their performances to generate a significant income any more? I mean, how often do I encounter instances where the general public expects musicians to perform live, for expenses only, or to forgo an income on recorded performances because they expect to download and copy music for free? Some good musos no longer rely on their music directly, rather they have another part-time occupation allowing flexibility to pursue their music making without the financial burden of it generating them an income. Go back more than a century and you will find a similar scenario, yet there was just as much music making, arguably more, going on. Consumption of music will always be high and advances in technology have diversified the opportunities for making and recording music and getting it heard, yet they have probably decreased the chances of musicians generating a sufficient income from it.
@sundaydinnerent Friday, February 17, 2012
No gimmicks here, folks. This is legit.
Visitor Sunday, February 19, 2012
Not tooting my own horn but based on some of the comments I have read here I think readers of this column should read this piece I wrote about a presentation by Martin Atkins (PIL, Killing Joke, etc.) at SF Music Tech Summit (sfmusictech.com) last week and be sure to not just listen to but ABSORB his comments on the SoundCloud link there. http://bit.ly/wgws2I Its a helpful reality check....
Jonathan Monday, February 20, 2012
7. Sheet Music Sales
Looking forward to see some sales stats from that, especially from the top 100 "artists".
Here is your sheet music:
||: C Em C Em C Em Am B :||
Good luck selling that to someone who actually knows which notes Em is made of.
MarvinDaMartian Monday, February 20, 2012
I know this probably isn't a very practical way for artists to earn money since its a competition, but there's a website called makeastar.com that hosts tournament-style contests in different categories once a month and the winners win $100. You just enter your song or video in the contest and if you earn enough votes, the money is yours.
@coolandy2000 Monday, February 20, 2012
For those who wish to make moeny from their music.. I believe in sharing :). Intellectual property law..
@UrbanThreshold Monday, February 20, 2012
A must read.
Tunemaker Tuesday, February 21, 2012
Direct larger events - like Festivals and Conferences. Once you're known in the circuit, it gets much easier - and much relies on networking and reputation (it helps to have published pieces that your registrants can operform as well.)
Adjudicate at contests - in the instrument of your expertise.
Accept publisher/editor requests - writing a piece to fill their needs. almost a guarenteed acceptance.
Dick Weissman Wednesday, February 22, 2012
Add
Workshops, often can be given in conjunction with performances when traveling.
Writing instructional books, making instructional videos.
Consulting in areas of expertise-songwriting, performing, etc.
Cjpstaff Friday, February 24, 2012
Very impressed with this article / now sending link out. Nikki Hornsby, Grammy voting member, had her first cd distributed by five companies & cdbaby was one. Her CDs distributed to this day through in house cjp-nhrecords & www.cdbaby.com/all/Nikki . Glad to read ur report favorable. Thank u as it helps interns & many others understand lifetime careers like Nikki Hornsby's. It makes consulting easier too.
Payments to artists Sunday, February 26, 2012
Probably the most informative article
stabilina Wednesday, March 28, 2012
interesting; how do i start?
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