An Examination of the Songwriter & Music Publisher Relationship [PART 1]

[Editors Note: This is a guest blog written by Justin M. Jacobson, Esq. Justin is an entertainment and media attorney for The Jacobson Firm, P.C. in New York City. He also runs Label 55 and teaches music business at the Institute of Audio Research.]

 

We will now examine the music publisher and its exclusive publishing agreement with a songwriter. In addition to the standard exclusive publishing agreement explored below, there are other types of related agreements a songwriter could potentially sign with a music publisher, including a co-publishing, sub-publishing or administration arrangement; however, these will not be explored in this article.

Music publishers, which include Sony/ATV Publishing, Universal Music Publishing and Warner Music Publishing, are companies that manage a songwriter’s rights in a track. This may be typically referred to as an “administration” right in the composition. This provides the publisher with the right to license the music to others as well as to collect payments from any third-party for their uses of the songwriter’s work. The publishing company also handles the “paperwork” associated with the composition, including registering the copyrights in the songs, indexing the track with the appropriate Performing Rights Organization, as well as accounting and distributing the collected funds. A publisher may also “shop” a songwriter’s tracks in order to obtain licensable placements for its signed talent. An individual responsible for this task is sometimes referred to as a “song plugger.”

In most instances, the songwriter and publishing company equally split all of the proverbial “publishing monies.” In reality, this means that fifty (50%) percent of the total amount earned is allotted for the “writer’s share” of the composition and the remaining fifty (50%) percent is allocated for the “publisher share” of the composition. Since a single track can have several co-writers, this means that several publishing companies and other individuals may also be entitled to a part of the “writer” or “publisher” share of the track. For instance, if a song has two co-writers, the “writer’s share” of the composition could be split equally with each writer receiving fifty (50%) percent of the entire track’s “writer” share.

The streams of income generally subject to an exclusive publishing agreement include mechanical royalties, public performance royalties, synchronization fees and print incomes. Mechanical royalties are paid for the use of a musical composition on CDs, vinyl, cassettes and as MP3 downloads. In the United States, the Harry Fox Agency is generally responsible for collecting and distributing mechanical royalties. Print Income is also subject to these agreements and applies to any funds earned from the sale of the printed musical work, such as in lyric and musical score folios, individual sheet music and when the same is displayed or sold as sheet music on the Internet.

Public performance royalties are also subject to a publishing agreement. This income is due when a musical composition is publicly performed, including when it is played on the radio, at a nightclub, a concert hall, or a stadium. These funds are collected by Performing Rights Organizations (P.R.O.). In the United States, the P.R.O.s are ASCAP, BMI and SESAC. A songwriter must become a member of a P.R.O. in order to receive their public performance royalties. Additionally, each country has their own P.R.O., so a foreign citizen should become a member of the organization in their country of citizenship.

Finally, synchronization income, referred to as “synch” monies, are subject to the same publishing deal. This income is paid when a composition is displayed with a visual image, such as in a motion picture, in a television program, in a music video or in a video game. There is income here that may also be collected by the owner’s respective P.R.O.

As is standard with most exclusive recording agreements, the deal is usually cross-collateralized with any other agreements between the same parties. Again, this means that any advance and any other funds expended on behalf of the writer, whether under a recording contract or a publishing contract, are recouped against any royalties earned from either agreement. If possible, it is prudent to limit or prevent the cross-collateralization of the agreements; however, most companies will not permit this.

In addition, some publishing companies attempt to cross-collateralize the royalties earned by one co-writer in a composition with that of any other co-writers of the same track. This permits the publisher to credit any royalties earned by any co-writer of a composition toward the outstanding royalty balance of any other co-writers of a song, even if they are not attributable to this particular co-written song. If it is cross-collateralized, the publisher is permitted to credit any royalties earned by any co-writer of a composition, even if they are not attributable to this particular co-written song, toward the outstanding royalty balance of any other co-writers of a song. It is prudent to ensure that each writer’s royalty account is not cross-collateralized with any other co-writers of a track by ensuring that only tracks written by one writer are credited toward that writer’s outstanding balance without permitting the cross-collateralization of accounts with any other co-writers.

Another point to be aware of is that an artist should try to ensure that if they are signed to both a recording and publishing agreement with the company; and, if the company wants to extend one of the deals, the other deal is also not automatically extended. This prevents the artist from being dropped from the label while still being signed to the publishing company.

One final matter that should be addressed in this arrangement is the songwriter’s creative control and approval for the uses of its compositions. In particular, a writer should try to include a limitation on the types of works that their composition can be licensed to or included in. For instance, a “kid friendly” pop star may not want their composition featured in a commercial that contains drug, alcohol or tobacco use, features sexual content, or violence. In addition, an artist should have a right to approve any changes to their finished music. This includes ensuring that any song or lyric alterations conform to the artist’s “mood” or “style” of music. For example, a publisher should not be able to take a dance track created by a dance artist and edit it so that it is now a heavy metal record.

We will now examine a few standard clauses included in an exclusive songwriter publishing agreement.

SERVICES – During the Term, Writer shall furnish to Publisher, Writer’s exclusive services as a songwriter and composer and shall deliver to Publisher, for exclusive exploitation hereunder, all of Writer’s interest in and to all of the Compositions. 

(a) New Compositions – Musical works that are written, composed, created, owned and/or acquired, during the Term, by Writer, alone or in collaboration with another or others (hereinafter referred to individually and collectively as “New Compositions”) 

(b) Old Compositions – Musical works that are written, composed, created, conceived, owned, controlled and/or acquired, in whole or in part, prior to the Term, by Writer, alone or in collaboration with another or others (hereinafter referred to individually and collectively as “Old Compositions”). The New Compositions and the Old Compositions are individually and collectively referred to as the “Compositions.” 

As described above, the publishing agreement usually signs the writer to an exclusive agreement for their publishing rights in all of their Compositions. This means that the agreement applies to any existing compositions that the writer has created and owns as well as any new material they create or acquire during the term of this agreement. It may be advisable to attempt to exclude certain existing tracks from the agreement in an effort to prevent the publisher from receiving income from those compositions. This is especially true, if those tracks are already under a prior exclusive publishing deal. This is not the easiest goal to achieve as most of the time; the artist is only receiving the publishing deal due to an interest in all of their existing material as well as any new material they create going forward.

GRANT OF RIGHTS

(a) Writer hereby irrevocably assigns and grants to Publisher and its successors, all rights and interests of every kind and nature in and to the results of Writer’s songwriting and composing services, including, the Compositions, the copyrights therein and any and all renewals and/or extensions thereof throughout the Territory, all for the full term of copyright protection and all extensions and renewals thereof throughout the Territory. 

(b) Administration – Publisher shall have the sole and exclusive right to administer one hundred percent (100%) of Publisher’s and Writer’s respective interests in and to the Compositions, whether now in existence or hereafter created, including the following: 

(i) To perform the Compositions publicly, by means of public or private performance, radio broadcasting, television, or any and all other means, whether now known or which may hereafter come into existence. 

(ii) To substitute a new title or titles for the Compositions, and to make any adaptation or translation of the Compositions, in whole or in part, and to add new music or lyrics to the music of any Composition. 

(iii) To make and to license others to make, master records, tapes, compact discs, and any other mechanical or other reproductions of the Compositions, including the right to synchronize the same with sound motion pictures, radio broadcast, television, tapes, compact discs and any and all other means or devices, whether now known or which may hereafter come into existence. 

(iv) To print, publish and sell, and to license others to print, publish and sell, sheet music, orchestrations, arrangements, including, without limitation, the inclusion of any or all of the Compositions in song folios, song books or lyric magazines. 

(v) To collect all monies earned during the Term with respect to the Compositions. 

The above language explores the various rights granted to the publisher by the songwriter in the agreement. The clause affords the publisher with the exclusive right to administer one hundred (100%) percent of the song’s publishing. Under this provision, the publisher has the right to license the work for inclusions on CDs, as MP3 downloads and as sheet music. They also have the right to collect all the monies earned on the contracted for compositions.

Additionally, the publisher has the right to license the work on the radio, on television, in motion pictures and by “. . . all other means or devices, whether now known or which may hereafter come into existence.” This language permits the publisher to apply its current publishing deal to any new technology or means of distributing music that may come into existence at a later date. Furthermore, the publisher is granted the right to translate into another language as well as adding new lyrics to any composition created by the songwriter.

In our next installment, we will continue our discussion on a music publisher’s exclusive publishing agreement with a songwriter.

This article is not intended as legal advice, as an attorney specializing in the field should be consulted. Some of the clauses have been condensed and/or edited for content purposes, so none of these clauses should be used verbatim nor do they act as any form of legal advice or counseling. 

iTunes Holiday 2017 Delays & Closures – Plan Ahead!

You read that right, folks! We’re already approaching the holiday season, and once again we’re here to remind you that it’s imperative to be prepared if you’re planning on distributing music during November and December. Like many of us, our pals at iTunes and other digital store partners take time off during the holiday, resulting in potential delays.

See below for some guidelines that’ll ensure you have a successful release just in time for the holidays:

  • In order for content to become available in iTunes and other stores between Friday, November 17th and Friday, December 1st you must upload and pay for distribution in TuneCore no later than Tuesday, November 7th.
  • In order for content to become available in iTunes and other stores between Saturday, December 2nd and Friday, December 8th you must upload and pay for distribution in TuneCore no later than Tuesday, November 14th.
  • In order for content to become available in iTunes and other stores between Saturday, December 9th and Friday, December 22nd you must upload and pay for distribution in TuneCore no later than Tuesday, November 28th.
  • In order for content to become available in iTunes and other stores between Saturday, December 23rd and Sunday, January 7th you must upload and pay for distribution in TuneCore no later than Tuesday, December 12th.

In order to make sure that you don’t miss the release date for your song or album, plan ahead and distribute your new music as soon as you can to avoid getting caught in holiday closings/delays. The earlier you get your new music on iTunes and other stores, the more time your fans will have to buy it!

If you’re not ready to release that album just yet, we always recommend releasing a single early to garner some excitement!

If you are planning on submitting your new release via the TuneCore Feature Submissions Page:

  • To be considered for a feature for Friday December 1st, you must fill out and send your Feature Submissions Form by Friday, November 3rd.
  • To be considered for a feature for Friday December 8th, you must fill out and send your Feature Submissions Form by no later than Friday, November 10th.

Regardless of how your fans celebrate the holidays, give them the chance to use your music as a soundtrack – distribute your holiday music today!

September Industry Wrap-Up

Spotify Expands Video Features, Partners With Hulu


It’s rare that a month goes by without some sort of news around the music streaming platform Spotify’s latest ventures. Last month, we reported on Spotify extending a test to U.S. customers that added videos to their playlists, specifically within its wildly popular “Rap Caviar” playlist.

This past month, Spotify rolled the feature out globally. The expansion was highlight by an exclusively-shot video for pop star Sam Smith’s latest ‘Too Good At Goodbyes’ single. Included in 40 popular international playlists, this quick development one month from its initial testing shows that the company is feeling confident in the feature’s reception from fans. As MusicAlly points out, the expansion of this feature is notable as it highlights Spotify’s video strategy shifting towards playlists as opposed to original shows.

Speaking of original shows, Spotify has also expanded its marketing of premium subscriptions by partnering with another likeminded and innovative player in the media space, Hulu. The two industry disrupters have teamed up much to the delight of college students heading back to campus this semester by offering a bundled subscription package: just $4.99/month for Spotify Premium and Hulu’s on-demand streaming plan. Spotify already offers a $4.99 student special, but this bundling deal is sure to sweeten the offering for a lot of tempted college kids looking for entertainment on the cheap!

Between finding new ways to entice paying subscribers and expanding artist-friendly creative features that we’re seeing in their video strategy, all signs point to Spotify staying on course as an innovative leader in a space in which indie artists can earn more revenue. We already know that music videos continue to be a big part of artists’ marketing strategies, and this combined with college campuses being a breeding ground for new music fans gives artists all the more motivation to get creative in this space.

 

RIAA Reports Strong Growth in Music Industry Thanks to Streaming


The Recording Industry Association of America (RIAA) dropped it’s 2017 mid year music industry review in September, and it turns out everything is coming up streaming! Not a huge surprise to most, obviously, but the numbers are definitely encouraging overall.

Comprising 62% of U.S. industry revenue in 2017 so far, paid streaming is now the largest contributor to the industry, a slice of the pie once dominated by digital downloads. In fact in just two years, that number jumped up from 33% in 2015 – while digital downloads accounted for 22% less this year, down to 19% from 41% in 2015.

Another less surprising point from this report is Spotify and Apple Music remaining ahead of the pack in terms of paid subscribers; but it’s important to note that paid music subscriptions overall grew in the U.S. to 30.4 million – a 50% jump.

Music to investors in the space’s ears? Probably. But the big takeaway for TuneCore and the indie artist community we support: streaming continues to grow among music lovers, giving artists more and more opportunities to get their music heard and discovered on the platforms we distribute to.

 

Australia’s Music Market Emboldened by Indies


A joint report by Deloitte and AIR (Australian Independent Record Label Association) dropped this month, revealing that Australia’s independent labels account for 30% of the country’s $400 million music market.

Always known for some its legendary independent labels and innovative music, Australia ranks #6 in the world music market share. Streaming accounted for 55.9% of digital revenues in 2016, up almost 30% from 2014-15.

While some indie artists may overlook the continent’s power in terms of music discovery, we here at TuneCore are celebrating the figures in this report – because whether it was an indie label or directly through distributors like TuneCore, this shows an encouraging trend towards independent music’s popularity.
Additionally, it’s a helpful reminder that when you distribute your releases worldwide, territories you might not personally visit or tour in can be viable when it comes to revenue and building a fanbase. Read the whole report here.

Your Music Was Added to a Popular Spotify Playlist…Now What?

[Editors Note: This article was written by Sam Friedman and originally appeared on the Soundly Blog.]

 

It’s 2017, and album sales are sinking to historic lows. CDs are becoming obsolete. Even digital downloads are plummeting. But people are listening more than ever — they’re just streaming. The music-publishing industry is changing fast. The Recording Industry Association of America (RIAA) reported that in 2016, streaming services were responsible for more than 50% of revenue earned in the music industry today. And the biggest player of them all is — you guessed it — Spotify, with an unbelievable 50 million paying users.

Spotify is known for its “discover” features, most specifically its playlists. Whether it’s “New Music Friday,” “Today’s Top Hits,” or “RapCaviar,” many of these playlists have millions of followers. If your music gets added to one of the biggies, that’s about as close to a Willy-Wonka golden ticket as you’re going to get in the streaming world. Overnight, your track can soar from a few hundred plays to tens of thousands.

Today, it’s just as important (if not more so) for indie artists to try to get their music featured on Spotify playlists as it is to get press coverage. Obviously, both are optimal, but Spotify can generate some serious revenue, especially if the artist owns the music.

And beyond getting paid, it exposes your music to thousands of new listeners. In many ways, it’s not unlike opening for a huge artist in front of a new audience. Spotify often curates its playlists based on genres or moods, so when your song comes on, it’s usually because someone was looking for or listening to a song like yours. But as much as artists (and labels) are competing for features, not many of them have a plan for when that magical moment happens.

Personally speaking, I didn’t even know my song was featured until an A&R rep reached out to me to talk about my music, mentioning he found me on Spotify’s “Fresh Finds” playlist. I had no idea what he was talking about, but I checked my Spotify plays and saw that one of my tracks, which previously had less than 1,000 plays, had suddenly increased to nearly 40,000! I had no idea what to do next other than just feel giddy that people were discovering my music. In reality, there are several important steps that every artist should take when his or her music is featured in a Spotify playlist.

Promote Your Feature

First things first: if you do get featured on a playlist, treat it like a good press feature and share that thing! This is a good time to do a sponsored social media post with a link to your song on Spotify. You should already budget for promoting your music on Spotify, but after your song is featured on a playlist, make a custom post and bump up the awareness. Be sure to share the playlist itself, too, not just your song.

Thank the Playlist Curator(s)

You may have to do a little research to find the names of the playlist curators, but that’s what Google is for, right? Get to stalking! If you can, find their emails, send them a genuine thank you, and establish a relationship. It’s also a good idea to find their Twitter handles and tag them when you share the playlist.

If someone out there likes your music enough to put you on a playlist that literally thousands of other musicians are dying to be on, chances are he or she is going to be open to hearing from you. Capitalize on their interest, and make a connection as soon as possible.

Search the Charts

Even if your song is added to a small playlist and you only get a modest bump in streams, the rate of growth can be enough to earn some chart action. Search Viral 50, Spotify US, Spotify Global charts, etc. Making it onto one of these is a huge opportunity to shine.

It’s also a great way to encourage your fans to share your song. People always like to help something grow. Ask your fans for their help, and update them every time you move up a notch.

Check Other Playlists

When a song is added to a big playlist, there tends to be a domino effect. You can typically find out which playlists feature your song under the About portion of your Spotify artist profile. Search daily, but also actively go hunting. Every Friday, check the “New Music Friday” playlist. Every Wednesday, check all of the “Fresh Finds” playlists.

Remember, each playlist that features your song is going to grow your audience and is worth raving about. In addition, people will find your music and add you to their smaller playlists — thank them.

Use Data to Build Your Press Kit

Take the data from your playlist feature — number of streams, cities where you’re most popular, etc. — and add it to your press kit or EPK. Today, new artists are introduced with press quotes and their streaming data if it’s impressive. Similar to a good quote from a reputable publication, notable streaming data helps sell your music to prospective bookers, record labels, A&R execs, etc. and is powerful ammunition to build your career.

Reinvest Your Earnings

Various studies report that the aggregate net average per stream is around $0.005 depending on how much of your music you own. It takes a couple months to get paid, but make sure you have a plan ready for how to reinvest that income back into your music.

For example, stash a certain amount of that money away for promoting your next single with Instagram ads and sponsored Facebook posts. Using your streaming money for cocktails over the next five weekends might not be the best investment to help keep your music career growing.

Keep an Eye on Your Stats

Obviously, you should pay close attention to your streaming stats, but watch your overall numbers on other platforms like Facebook and Instagram along with other streaming services like Apple Music. Unfortunately, people streaming playlists that feature your song doesn’t automatically mean they’re becoming fans — they’re just being exposed to your music. Look out for people commenting on your pages saying they found you on Spotify. Those are the fans you’re going to want to nurture and build a relationship with.

Another helpful stat to track is where people are listening. If you’re popular in Sweden, for example, plan to include that territory in your next promotion, or possibly think about planning a tour there. Spotify insights are crucial in helping you target new fans and nurture existing ones.

Pitch to Other Playlists

Now that you’ve been featured once, use that as an angle to bolster your single for inclusion on another playlist. When you’re pitching, mention your success and how your track is growing. Remember, a lot of Spotify is about credibility. People tend to only pay attention when you’re on the rise. Capitalize on that and keep pitching. Singles die off fast these days, so keep extending the life of your track until you release the next one.

If you feel overwhelmed by all this data gathering, that’s because it’s designed to be complicated. There are over 900,000 distinct royalty streams that artists around the world have access to, and between 20-50% of royalties generated never make into these artists’ pockets.

Tips For Getting Your Song On a Spotify Playlist

[Editor’s Note: This blog was written by Janelle Rogers, the founder of  Green Light Go Publicity, a music PR firm which helps up-and-coming musicians reach their audience.]

 

You’re absolutely certain you want, no, you need, to get on an official Spotify playlist. The problem is you’re not sure how to reach the elusive curators and you’re struggling to get past 50 followers on Spotify.

Asking to be on an official Spotify playlist in that case is somewhat the equivalent of wanting to be on the cover of Rolling Stone when the only show you’ve played is the local dive bar on the seedy side of town.

Don’t despair. It doesn’t mean it can’t happen, but it does mean you’ll have to put in a little elbow grease to build up to it. Just like the mailroom guy has to work through a multitude of career levels before becoming manager, you’ll have to create some momentum to reach your official Spotify playlist goal.

Here’s a few simple steps that are within reach no matter the level:

1. Get Verified

The first thing you should do is get your Spotify band profile verified. This does a few things. It gives you credibility and shows you take your band seriously. It can also help with Spotify algorithms which prioritize verified accounts.

Lastly it can help you get noticed by Spotify influencers, including those who create unofficial playlists, but are influential nonetheless. You can find the five simple steps to get verified on Spotify here.

2. Work Unofficial Spotify Playlists

The best way to reach a goal is to start where you are. You may want to go straight to being featured on an official Spotify playlist, but the truth is that you’ll most likely need to build up to where a Spotify curator will pay attention. The good news is that there are a lot of unofficial Spotify curators who will be more open to featuring bands who haven’t yet built a larger following. At this stage in the game, Spotify curators, both official and unofficial, are heavily guarded and extremely elusive.

Start with the ones who want more followers and help brand them by asking your followers to follow them. In your head you may think they’re not worth the time. Instead think about not where they are, but where they could end up. Isn’t that how you would hope playlisters would think of you?

I can still remember when Alex with Consequence of Sound reached out to me to purchase a $25 ad on his site. Nobody knew who the blog was then, but now they’re one of the top blogs. And almost every band who comes to us for music PR at Green Light Go asks to be featured there. You never know where someone will go so treat them with the kind of courtesy and respect no matter what the level.

3. Promote Spotify on Social Media Platforms

If you want to increase followers and awareness with Spotify influencers, you’re going to need to increase your marketing efforts on your social media. Make sure you have links to your Spotify profile in your about sections. Also, once or so per week ask fans to follow you. But don’t just ask them to follow you without giving them something new.

Be strategic by offering fresh content whether it’s announcing your single release, album release or creating a playlist with new songs. Also be sure to promote the playlists of influencers you want to include you in their playlist. Especially with those who don’t yet have the following yet, this can go a long way and allow you to get in on the ground floor before they make it big.

4. Promote Spotify on Website

Just like you promote your social media on your website with Facebook and Twitter links, you should also include Spotify anywhere you can. They have a great tool to create a follow button so fans can follow you straight from your site. In addition, you should include icons next to your other social media and also include a Spotify playlist so people can listen to your music. Lastly, include a widget to listen to the music you have available on Spotify.

5. Create Spotify Playlists

If you have yet to build a following or create relationships with Spotify playlisters, a good place to start is by building your own playlist including your music. To better your chances with Spotify aggregators, limit it to one song per artist (including your song), a minimum of 20 songs and give the title something catchy that is also searchable based on your theme. For instance, we have a playlist themed around indie folk, which we simply callIndie Folks. We also have an indie rock playlist we call, you guessed it, Indie Rocks.


The above steps can help you start breaking down the barrier to get your songs on Spotify playlists. Go ahead and get started by working on the achievable areas to make you more attractive to Spotify influencers.

May Industry Wrap-Up

Spotify Launches “Spotify Codes”


Remember the QR Code Craze? Sure you do! It took place a couple of years back when we began seeing these funny little squares with unique black and white patterns in them all over promotional materials, from the subway to magazines. People could use their mobile device to scan the QR code and it’d offer them some sort of exclusive content. Marketers saw this as a fun new way to connect with consumers, but ultimately the process involved proved to be just over the line of effort that most consumers were willing to put into connecting with a campaign.

Flash forward to present day, and we see Spotify has announced a new in-app feature called “Spotify Codes”, allowing music fans to scan said codes to share music with friends. It’s being rolled out globally and is about more than just sharing your favorite playlist with a like-minded pal. Music Ally points to the strong potential for artists to market their music using Spotify Codes: “Flyers, posters, billboards… perhaps even TV advertising – something that would take Spotify Codes into the territory traditionally occupied by Shazam.”

A strong and thoughtful point, indeed. Indie artists of all genres can direct potential fans directly to their latest releases using traditional DIY promotional tactics simply by including their unique Spotify Codes within their visual assets. It’ll be very interesting to see how artists get creative with sharing these codes, and of course, how fans react and engage. Get started using them today with instructions via Spotify here.

Amazon Prime Offers Live Streaming Concerts


Is there anything Amazon Prime can’t deliver us? Well, up until this month, you could technically put “concert experiences” in that category (which seems reasonable enough), but alas, the online retail giant continues to out-do itself. In May, Amazon announced that it has begun offering tickets to concerts to its members. Not just any concerts, but a series of live events, with tickets being offered exclusively via the platform to Prime customers, featuring internationally recognized artists playing in small, intimate settings.

While concerts are being booked for Prime members in the UK right now, it has hopes to add U.S. concerts by the end of 2017. Additionally, Prime members out of the market for these experiences can catch recorded and streaming versions of these concerts so fans can get in on the fun from home. (Kind of a different version of those home concerts we’ve written about in the past.)

Amazon’s attempt to attract older, mainstream music fans who consume music – and live music for that matter – differently than the typical 20- or 30-something music obsessives is a great thing for independent artists who are hoping to reach similar crowds. Additionally, this move shows Amazon taking a step to connect artists with fans further, “combining customer data, billing relationships, content and services, infrastructure and consumer hardware.”

It will be interesting to see how this plays out in the near future – not just what new ways Amazon offers experiences exclusively to Prime members, but also how they bring independent musicians and bands into the fold.

Facebook Rights Manager Helps Artists Collect Ad Revenue


Good news for music creators looking to benefit monetarily from Facebook videos: the social media giant has updated its “Rights Manager” feature, allowing artists to generate revenue from pirated videos that had mid-roll ads placed within them. If an artist’s song is being used in a video across Facebook (with or without permission), they can now get a cut of that sweet, sweet ad money previously reserved for the video creator.

Facebook pays 55% of ad revenue to rights holders (much like YouTube), and until now, its Rights Manager could only successfully notify a rights holder when their music was being used in a video somewhere on the platform – giving them the option to take the video down or leave it up as a means of promotion. Similar to YouTube’s Content ID (which you can take advantage of using TuneCore’s YouTube Sound Recording revenue collection service), artists can “claim ad earnings” and even choose where the 15 to 20-second ad is inserted in the video.

Any new revenue stream for artists is viewed as a win for TuneCore and the greater independent music community. It will be exciting to see how this adds up for those who get their songs featured in videos across Facebook, and it’s definitely a step in the right direction in honoring copyrights. Artists can sign up for Rights Manager via Facebook here.