Podcasts about performing rights organizations

As a songwriter, it's never been more important to track your songs, and receive payment for your efforts, as it is now. But where do you start, and where do you go to find where the royalty payments may be waiting for you? It's not always up to the PRO's (Performing Rights Organizations) to find your money and hand it out to you. In simple terms, you need to be paid for what you create. It can be challenging, and require some hard work, but it is worth it if you know how to navigate the various outlets that are available. There are at least 13 royalty payment portals that many songwriters don't know about. Such entities as “The Music License Collective” are out there, but if you as the creator of the song don't know about them, and have the ability to access them, you're missing out on collecting your money. Nancy Deckant, who is the founder and CEO of Discover Sooner, along with being the co-author of the book “The Songwriters Guide” shares some insight and direction on where you can go to ensure you're getting all the money you earned… and deserve. www.nashvillecool.com www.musicreports.com www.themlc.com www.musicreports.com www.discoversooner.com Creator and Executive Producer Emeritus: Tom Sabella Showrunner and Host (the guy who has a face for podcasting): Bob Bender Management Representation: Chuck Thompson for Thompson Entertainment Group, LLC Co-Producer - Audio/Video Editor (the man behind the curtain): Mark Sabella Director of Video and Continuity (the brains of the entire operation): Deborah Halle Marketing and Social Media (all knowing): Sarah Fleshner for 362 Entertainment All Around Problem Solver (and Mental Health Therapist for us): Connie Ribas Recorded inside what could be an old beat up Airstream Trailer located somewhere on what's left of Music Row in Nashville TN (Man we sure do miss Noshville, and the Longhorn Steakhouse) Mixed and Mastered at Music Dog Studios in Nashville, TN Editing and Post at Midnight Express Studio located in Olian, NY Production Sound Design: Keith Stark Voice Over and Promo: Lisa Fuson Special Thanks to the creator and founder of the podcast, Tom Sabella, along with Traci Snow for producing and hosting over 100 episodes of the original "Business Side of Music" podcast and trusting us to carry on their legacy. Website: If you would like to be a guest on the show, please submit a request to: bob@businesssideofmusic.com If you're interested in becoming a sponsor for the show, let us know and we'll send you a media / sponsorship kit to you. Contact us at bob@businesssideofmusic.com The views, thoughts, and opinions expressed on this show provided by the guest(s), are those of the guest(s) own, and do not necessarily represent the views, thoughts, and opinions of the host or producers of this podcast. The material and information presented here is for general information purposes only. The Business Side of Music's name and all forms and abbreviations are the property of its owner (Lotta Dogs Productions LLC), and its use does not imply endorsement of or opposition to any specific organization, product, or service. Copyright © 2024 Lotta Dogs Productions, LLC, All rights reserved.

Making a Scene Brings you an Interview with a Pro - Gerry Roszak of Kondler and Associates Royalty Audit Teamin the music industry, the traditional revenue streams for musicians and songwriters have undergone a significant transformation. With the rise of digital music platforms and streaming services, the way in which artists earn money has changed dramatically. It is essential for musicians and songwriters to understand the various revenue streams available to them to ensure they can monetize their work effectively. Administrating these revenue streams can get daunting for the indie artist, in fact I would venture to say that most indie artists have monies sitting out there uncollected they are unaware of. Gerry Roszak worked for over 20 years at ASCAP helping musicians get the money that is owed to them, and now has created a new company with the accountant firm Kondler and Associates "Royalty Audit Team" (917-561-6009) to find and retrieve ALL the monies an artist has earned with their songs

There are a lot of moving parts to getting paid when your music gets placed on TV and as production music composers, the majority of the money we make depends on backend royalties managed by PROs or Performing Rights Organizations. So on today's episode, I examine the role of PROs, what they do, how they operate, and how they determine how much you get paid.Plus we feature a stomp/clap cue written by 52 Cues community member, Lenny Beh!Watch this episode on YouTube!https://youtu.be/e_nm83BVRqc00:00 - Intro & Welcome02:15 - PROs Explained5:00 - What do PROs actually do?9:25 - How does it all work?12:28 - Payments and the 3 major usage criteria.15:47 - What about royalties from streaming services?18:59 - How the PROs weight payment criteria differently.20:58 - The main types of royalties and payments30:00 - What are cue sheets and how are they used?41:05 - The 10 most common PROs54:00 - Join the 52 Cues Community!55:15 - "Power Through It" by Lenny Beh01:09:04 - Outro & How You Can Support 52 Cues! Join the 52 Cues Album Accelerator – a self-paced program with over 6.5 hours of video content, discussion threads, articles, and resources which guides you through the entire process of creating a production music album. Plus you'll receive a 90-minute, one-on-one session to listen through your album and discuss strategies for library placement. Head over to 52cues.com/accelerator to sign up today!

Brock Shinen from Shinen Law and Indie Music Success comes on the show today to discuss everything you need to know about performing rights organizations.We've talked a bit about companies like BMI and ASCAP, but today we're learning it from a real practicing lawyer.We dive into why PRO's are around, how you need to register your music, why most of the labels you sign with don't register your music, as well as why you need to be careful with remixes and mashups.Get the scoop in this unbelievably packed episode full of knowledge!Head to https://enviousaudio.com/episode104 to check out the show notes!

The No Diploma Music Club presents its first music club lecture; How to Monetize your Music 101. This lecture covers topics such as; The Truth about: Performing Rights Organizations, Synchronization licenses, Brand Partnerships & Selling your Music. LECTURE PRESENTED BY @Nodiploma.music PROFESSORS: Moderator : Steven J Contreras // Founder of Oh That's Filthy Music Group @Stevenjisfilthy @ohthatsfilthy Panelist : Amilcar "PRO" Welton // Founder of CREATE.Digital Music @createdigmanpub Panelist : Maiwand Taufiq // Head of Marketing - Dash Radio @dashradio Credit to Saekyi for the intro song: Saekyi - Kink 0:00 Introduction 3:48 Understanding Metadata 13:35 The Music Monetization Act 22:25 Distribution 27:58 Brand Partnerships / Branding Yourself 45:54 Contracts 52:10 Mechanical/Synchronized License 1:06:22 Cutting Records 1:16:15 Questions and Answers/Outro Follow No Diploma for more discussions, merchandise & new projects. Website: https://nodiploma.ca/ Instagram: https://www.instagram.com/nodiploma_/ Discord: https://discord.gg/9sPnqyq

Part 2 of Interview with Kamal Moo as he talks about his book The Straight Forward Guide to The Music Biz “An Entertainment Lawyer Breaks Down the Industry” Kamal Moo has worked with a variety of musicians and labels Including Mega Star and Icon Janet Jackson.Links:Guest: Kamal MooWebsite BookHost: Christopher Grant Sr.DESTROY BookSEVENHORNSStraightforward Guide to the Music Biz A must-read for anyone looking for a clear, simple, and concise overview the music industry.READ: DESTROY Digital Media Platforms Find Out Why Your Content Everywhere Gets You Nowhere...Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (https://www.paypal.com/biz/fund?id=4MQBC9DNWHMGQ)

Part 1: Special Guest Kamal Moo joins DESTROY to discuss his book The Straight Forward Guide to The Music Biz “An Entertainment Lawyer Breaks Down the Industry”   Kamal Moo has worked with a variety of musicians and labels Including Mega Star and Icon Janet Jackson.Links:Guest: Kamal MooWebsite BookHost: Christopher Grant Sr.DESTROY BookSEVENHORNSStraightforward Guide to the Music Biz A must-read for anyone looking for a clear, simple, and concise overview the music industry.READ: DESTROY Digital Media Platforms Find Out Why Your Content Everywhere Gets You Nowhere...Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (https://www.paypal.com/biz/fund?id=4MQBC9DNWHMGQ)

“How do I set myself up for placements in TV/film/video games/online content?” “Who are the Performing Rights Organizations and what do they do?” “How do I go about finding music supervisors?” — Marat Berenstein was my guest on the podcast this week and I couldn't thank him enough for not only agreeing to come on the show but also to record on super short notice. So HUGE shout out to him. For those that don't know Marat, he's been in the music business since the early 2000s and has worked with some of the biggest names in music, across all genres. In this episode, Marat talks about his first gig working for Art Garfunkel, being one of the heads at the Clive Davis Institute at NYU, and advice for artists that are looking to get their music licensed, especially during these times. Enjoy, but most importantly, DO SOMETHING ABOUT IT! Wait to sign up for a 1:1 call with me to talk about your career? Click HERE.

Shawn Wilson joins Tim Hunze to explain how artists and publishers, now more than ever, can now get paid more efficiently from live setlists. Shawn is perfect for this conversation because as CEO of Muzooka, he was able to build a free platform for artists to manage their media assets, and also automate the process for setlist reporting to Performing Rights Organizations worldwide. For more information about Muzooka visit www.muzooka.com.   02:07- Shawn's Background and Evolution of Muzooka. 08:30- As a publisher, how does the Muzooka platform work? 12:23- Why is setlist reporting valuable?   14:15- Reporting setlists or "live money" from the indie scene to a stadium performance. 17:45- Using the data, what else can we learn from the information given and received? 

Neglecting to join a performing rights organization won't leave you a rotten egg, it will show you are not serious about your career as a film score composer. Nicole explains why you should register as both a songwriter and music publisher and why the Harry Fox Agency is important. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/hausoffilm/support

If you're a songwriter, publisher, performer, or all 3, then you should be familiar with PROs. But what are the differences between ASCAP, BMI, and SESAC? Can you join more than one? What about Sound Exchange? In today's episode, we cover the basics and what you can do to make sure you're not leaving  money on the table. Resources: ASCAP BMI SESA Sound Exchange

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Follow Friday Tips for Instagram and Performing Rights Organizations

Sarah Schuberth, Esq. (Music Law Chick)   Jonathan Singleton-The Getaway   Brandon Barnett-Your Everloving Arms   Department Of Justice Contact Page     Article I, Section 8, Clause 8 of the United States Constitution reads as follows: “To promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries."   I’ve decided to fire up the podcast in between seasons. You know why? Because I can. See, that’s what’s so liberating about creating something yourself. You can do with it whatever you want. There are no special committees or board members to vote on whether or not you can move forward. If I want to walk away from this podcast thing right now, I can. If I want to put out two episodes a day, that’s my prerogative.   Creative control is a beautiful thing. And the concept of intellectual property rights is just downright gorgeous. I can create something out of thin air and own it just like you own your automobile or your puppy dog. No one person or government can just come in and take that away from me, legally. That’s what the framers of the U.S. Constitution thought anyway.   But on June 30th, just two days before the Independence Day weekend, the United States Department Of Justice not only refused to change outdated consent decrees concerning Performing Rights Organizations (or PROs) that have been in place since the second world war, it also issued new regulations that would make 100% licensing with one PRO mandatory on co-written songs.   So what the hell does all this mean? Well, by refusing to update the existing consent decrees, songwriters do not have the right to pull their songs from streaming services if they so choose. The government sets the rate and songwriters have to live with it. And that rate is fractions of a penny on the dollar.   But evidently that wasn’t enough for the DOJ. The new ruling concerning 100% licensing is an entirely different can of worms, that evidently, no one saw coming.   Long-time listeners of Left Of Nashville will be familiar with Jonathan Singleton.  Jonathan is a hit songwriter out of Nashville. Some of his hits include “Watching Airplanes” by Gary Allan, “Red Light and Let It Rain” both by David Nail, “A Guy Walks Into A Bar” by Tyler Farr and the GRAMMY nominated “Diamond Rings and Old Barstools” by Tim McGraw. Here’s his explanation of the new ruling:       Speaking of lawyers, Sarah Ruth Schuberth, esq. is an attorney as well as a songwriter. Why you slacking Sarah? Why not a doctor too? Oh yeah, that’s what she was studying before music law caught her eye. Sarah is going to serve as Left Of Nashville’s in house counsel for this series. You can see what she’s about at facebook.com/musiclawchick. I’ll have it linked up in the show notes.   I must admit, I’m somewhat surprised at the lack of outrage coming from the music community about this ruling. I believe that one reason many are not speaking out is because of a lack of empathy for those “millionaire” songwriters whining about their gravy train being derailed.     But I believe by and large the reason more are not speaking out is because they are artists. It’s the nature of the beast. Either they don’t know what is happening or they don’t want to know. Most figure that someone else will take care of this. And because we have an artist’s heart, we are easy pickings. Sarah Schuberth esq     And the ones who do know what is going on are having trouble concentrating on anything else.     We have one year before this new ruling goes into effect. And this podcast series isn’t just going to ring the bell on the problems. We are going to look for solutions.    Like I said earlier, we have a year before this ruling takes effect. But we can’t rely on others to fight this. We as songwriters, musicians, podcasters, bloggers and anyone who cares about music and the rule of law must unite. You might think that this doesn’t  even affect you. Hell, the two licensing deals I currently have in L.A. are solo writes. I wrote the State I’m In with Jonathan and we are both ASCAP writers. So technically, this doesn’t even affect me…YET. Well, not that I know of. But this decision will have a ripple effect that will impact everyone. It is my feeling that even if you could get every songwriter to move to the same PRO to bypass this logistical nightmare, there will be even more anti-trust legislation put in place. That was the whole reason for the consent decrees in the first place back when ASCAP was the only game in town.    This will impact the entire music industry and then spread to others. What do you think will happen to Nashville’s booming real estate and tourism markets over the long term? What will happen to the quality and quantity of songs when writers who have that magic are no longer able to write together because of junk regulations?   So I’m asking you to join the fight. Share this podcast series with anyone who will listen. Leave a review in iTunes to help make it more visible. I want to have people in the industry on this show who have the power to stop this thing dead in its tracks and reverse the regulations put in place over seventy years ago.     

Copyright is the bedrock of every artist's career – it secures rights and offers protections that allow us to build careers on solid ground without undue worry of our works being stolen or exploited without our knowledge or consent. The Founding Fathers of the United Stated thought it so important that they wrote it into Article I of the Constitution. Every artist should have a working knowledge of current copyright law – they should know the basic rights and protections that they're afforded, and how they can remedy any infringement on their rights. It's with this in mind that I invited my friend Marc Ostrow, an entertainment/IP lawyer and songwriter, to be on the show. In our conversation, we talked about: basic tenets of copyright the limits of what is copyrightable the Poor Man's Copyright the benefits of and incentives to registering your copyrights fighting infringements folio registrations* working with living poets vs. dead poets' estates Performing Rights Organizations selecting collecting performance royalties what PROs don't do estate planning for artists international copyright issues why you should get permission before setting a text First Sale Doctrine licensing vs. selling copying licenses Fair Use Fair Use is not a right; it is a defense against an infringement accusation* the four factors of fair use transformative use vs. derivative works the false “rules of thumb” of fair use our cats (* – these are important points!) Marc is slated to come back in July to go into more depth with Fair Use and the seemingly endless misconceptions that people seem to have about it. Links: Marc Ostrow Marc's blog U.S. Copyright Office The Copyright Handbook Donald S. Passman: All You Need to Know About the Music Business Steve Gordon: The Future of the Music Business

Etan Rosenbloom is fighting the good fight from within ASCAP, one of the three Performing Rights Organizations in America. He tells us about interviewing artists with a difference perspective and why you, as an artist, should try to make each interview feel fresh and natural. We then dig into how technology now is allowing for a different relationship between artist and fan versus 20 years ago. Etan also provides insights into how to publicize your upcoming work and projects as an artist as well as ways to get the attention of bloggers, writers, newspapers, etc.MX4 Participants on the interview: Scott Tran, Parry Adams, Pamela Ames, Debra PenberthyLinks Mentioned: www.ASCAP.comSupport the show (http://www.paypal.me/cbemusic)