Author: Owl Eye Records

Some of the easiest ways to improve your recordings are also the cheapest. In fact, the most effective techniques require no money at all.

SoundExchange is a non-profit independent digital performance rights organization for non-interactive royalties collection in the form of play frequency (“spins”) for the sound recording from such streamers as Pandora, Spotify, iTunes, Tidal, Amazon Prime music, etc. paid directly to recording artists and labels. The difference between SoundExchange and a Performance Rights Organization aka. PRO (BMI, ASCAP, SESAC) is that PRO’s collect on behalf of songwriters and publishers, whereas SoundExchange collects for the artist and labels that own the finished recording that is streamed on digital or satellite radio where listeners cannot choose the music they are hearing. Streamers and players of a spin are required to submit a monthly Reports of Usage, which is tracked by the recording’s unique ISRC code.

Streaming services must calculate, certify and pay royalty rates and also their 2019 minimum fees, which are due on or before January 31, 2019 for all services streaming in January 2019. SoundExchange Licensee Direct for all royalty submissions, including Reports of Use. SoundExchange does not invoice services. Each service is obligated to submit payments, Statements of Account, and Reports of Use via Licensee Direct, regularly and in accordance with applicable rates and terms for the statutory license.

Here’s the breakdown

Business Establishment Services: This category is for services which stream into retail business establishments (e.g. bars, restaurants, retail stores, etc.), as described in 37 CFR 384 and 78 Fed. Reg. 66,276 (Nov. 5 2013).

Annual minimum fee: $20,000.
Monthly liability: 12.5% of annual Gross Proceeds.

New Subscription Services (CABSAT): This category is for services which provide audio-only digital music programming via residential televisions using cable or satellite television providers, as described in 37 CFR 383.

Annual minimum fee: $100,000.
Monthly liability:
“Stand-Alone” contracts: $0.0196 per Subscriber.
“Bundled” contracts: $0.0326 per Subscriber.

New Subscription Services have different rates for transmissions occurring in association with a “Stand-Alone” or a “Bundled” contract with the applicable cable or satellite television provider:

Stand-Alone Contracts. Services operating within “Stand-Alone” contracts pay a monthly per Subscriber rate as follows:

**Services operating in 2014-2015 must pay a “greater of” between the applicable per Subscriber rates and 15% of Revenue.

Bundled Contracts. Services operating within “Bundled” contracts pay a monthly per Subscriber rate as follows:

**Services operating in 2014-2015 must pay a “greater of” between the applicable per Subscriber rates and 15% of Revenue allocated to reflect the objective value of the Licensee’s Service.

Preexisting Subscription Services: This category is for certain audio-only “music channel” services, in existence prior to 1998, making transmissions to residential cable and satellite television providers. There are only two services currently operating in this category: MUSIC CHOICE and MUZAK. The rates for the 2018-2022 PES term are a percentage of monthly Gross Revenues, as defined in the applicable regulations:

7.5% of monthly “Gross Revenues”

Preexisting Satellite Digital Audio Radio Services: This category was for Sirius Satellite Radio and XM Satellite Radio, as those services were in existence prior to 1998. The category is now solely used by SiriusXM Radio.

The rates for the 2018-2027 SDARS term are a percentage of monthly Gross Revenues, as defined in the applicable regulations. Royalty payments are then reduced according to the proportion of certain transmissions of directly licensed sound recording.

15.5% of monthly “Gross Revenues”

SoundExchange can be reached by mail at 733 10th Street NW, 10th Floor, Washington, DC 20001

Getting a great mix has so much to do with tracks that are recorded well. Taking the time to ensure that you get well-recorded tracks makes all the difference in the world.

Getting a great mix has so much to do with tracks that are recorded well. Taking the time to ensure that you get well-recorded tracks makes all the difference in the world.

Is an over-reliance on temp music for editorial causing Hollywood to plagiarize itself?

With ever-increasing pressure on post-production schedules, temp scores have become helpful to directors and editors seeking to set a mood

Source: The Marvel Symphonic Universe – Studio Daily

Here are the 10 worst song demo mistakes songwriters make when cutting and pitching submission demos.

1. Long Intros – All we are thinking about during the vetting process is the melody, lyric, and vibe of the song; and isn’t that what you are selling?  Why  have a song demo with a 45 second intro; it seems like a lifetime when you have 250 to listen to (if they all had 45 second intros that would be 187 MINUTES of time wasted waiting for the songs to start!). What’s the purpose of a long intro on a SONG DEMO?  You are trying to sell the SONG not blow people away with your producing skills, so why annoy music supervisors by making them wait?  Poor judgment is passed on the song before even hearing the first verse.

2. Cheap Production – What happens when met with horrible production and cheap demos?  They provide welcomed comic relief from the listening work load. You have to compete intelligently in your marketplace. From the first note of crappy production it negatively colors opinion. This is your reputation so preserve it.

3. Wrong Song – READ the Opportunity Tip Sheet or LISTEN to the instructions on what the project requires. If the production asks for up-tempo party songs, don’t send sappy ballads. Don’t use an opportunity to pitch a random song as a vehicle to get noticed and DON’T submit every song you have. Music supervisors are only looking for the songs needed for THAT project, so they can move forward with the music recommendation and placement stage of a production.

4. Vague/Missing Information –  Don’t rush through the submission process. As the writer you want to provide all necessary information including the name of the artist, mood, etc. being pitched so your song doesn’t get lost in the fray. Decisions are made first with critical information, then the song is listened to if it matches the need.

5. References Not Researched – Often times examples are provided. If song references with positive messages are provided it could be bright as opposed to a dark theme. Avoid submitting work that is clearly inappropriate and doesn’t fit as it doesn’t make a good impression about your songwriting abilities no matter how good the song.

6. Chose The Wrong  Vocalist – On your demo, it is important to choose a professional singer; NOT someone who is your friend, want to be vocalist or who is ½ price, or yourself (if you’re not a singer) to save money. Demos with poor singers or inappropriate singers are ignored immediately.

7. Lyrics Aren’t Strong Enough – GOOD songs with average lyrics up through the first chorus get listened to.  However, the GREAT songs with KILLER lyrics hold attention through the 2nd chorus. Waiting to hear what the writer is going to say next maintains artistic curiosity keep the listening session going.

8. Not Honoring The Premise Of Your Artistry – Other than making money on a potentially placed song hold true to your craft as an artist. Sell the song with honesty and conviction.  Specifically the lyric, melody, and vibe of the song; anything more than that production wise and you are doing yourself a disservice.

9. Over Produced Demo – Avoid the impulse.  Tell yourself  “less is more”.  Writers with very little experience tend to over-do it. Don’t be tempted to turn a demo into an epic album track. Stick to the basics and DO NOT OVER-PRODUCE your song demo!  Put Background Vocals (BGV’s) only where it’s needed to lift the chorus.  DO NOT put Ooh’s and Ahh’s and fill in some holes with BGV’s . Don’t add excessive guitar tracks or color instruments, keep it as clean and sparse is possible.  Leave room for expansion to take the song to another level if needed. This is not a production idea for an album. And, make it durable over time as trends constantly change.  It shouldn’t sound like a 70’s or 80’s tune unless that’s the specification.

10. Bad Vocal Tuning – It’s distracting!  Hire a professional singer. It’s the best approach if you are smart competitor.