Podcasts about Songtrust

Tisha Morris welcomes Molly Newman, President of CD Baby, the leading music distribution company for independent artists, to share her extensive experience in the music industry, including her beginnings as a drummer in the punk band Bratmobile. They discuss the impact of the recent fires in L.A. on the music community, the evolving landscape of music distribution, and the importance of maintaining community connections. Molly also elaborates on the significant changes in the music industry, such as the role of AI and the challenges of music discovery. She emphasizes the importance of artists treating their careers as businesses while staying true to their creative passions.   00:14 Molly Newman's Background and Achievements 01:20 Impact of Fires on the Music Industry 03:45 The Evolution of CD Baby 08:09 Challenges and Opportunities for Independent Artists 22:03 The Role of AI in Music 28:46 Balancing Creativity and Business About Molly Neuman: Molly Neuman is President of CD Baby, owned by Downtown Music, the leading music distribution company dedicated to empowering independent and self-releasing artists. As President, Neuman is leading strategy and management of Downtown which serves millions of artists every day. Neuman was previously CMO of Downtown Music Holdings, CD Baby's parent company and prior to that, President of Downtown's Songtrust, which grew under her leadership to manage more than 3 million copyrights. With a career that has been focused on empowering musicians at all career stages, Neuman has been Head of Music at Kickstarter, and has held senior roles in licensing in digital music, as well as label and artist management. She currently serves on the Advisory Board of Women in Music and has previously served on the boards of the Music Business Association, SoundExchange and A2IM. Neuman was awarded International Woman of the Year at the 2024 Music Week Awards and has been recognized by Billboard in its 2018 Digital Power Players List, as well as its Women in Music Lists for 2019, 2020, 2021 and 2024. Her musical career began as a drummer in Bratmobile, a punk band who were in the first wave of the riot grrrl movement. https://cdbaby.com/ @cdbaby (Instagram) https://www.linkedin.com/company/cd-baby/

Scientific evidence supports the health benefits of the arts and neuroaesthetics. The Arts on Prescription model provides the infrastructure to allow arts activities (such as a concert) to be prescribed by your healthcare provider as part of your wellness plan. At the forefront of this model is Dr. Tasha Golden, who co-authored a groundbreaking guide on this fusion of arts, nature, and healthcare. Discover how communities can integrate these practices, and hear firsthand about the innovative initiatives reshaping wellness. Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode199 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096 In-episode promo:  Arts for the Health of It podcast https://heartsneedart.org/podcast/ Songtrust https://www.songtrust.com/  (use code ENHANCELIFE20 for 20% off)

Molly Neuman is the President of CD Baby, a leading music distribution company dedicated to supporting independent and self-releasing artists. With a vast background in the music industry, she has held key leadership positions, including CMO at Downtown Music Holdings and President of Songtrust, where she helped manage millions of copyrights. A passionate advocate for artist empowerment, Molly's career spans roles at Kickstarter and A2IM, and as a member of influential music boards.In this episode, Molly shares her experiences in the evolving music industry, the opportunities for independent artists, and how technology, including AI, is shaping the future. Molly also discusses her leadership role at CD Baby, her advocacy for women in music, and the importance of authenticity in building a successful artist career.Key Takeaways:Learn how AI and technology are transforming the music industry and what it means for independent artists.Discover actionable strategies to build an authentic community and grow a fanbase.Understand the importance of adaptability and seizing opportunities in a rapidly changing industry landscape.----To learn more about Molly Neuman's work and insights, visit: https://www.downtownmusic.com/CD Baby website: https://cdbaby.com/Apply for an Artist Breakthrough Session with the Modern Musician team: https://apply.modernmusician.me/podcast

Certified Music Therapist Jennifer Buchanan gives a preview of her award-winning book, Wellness, Wellplayed: The Power of a Playlist. If you love to make the biggest impact possible while getting the most out of life, this book was written for you! Discover how intentionally (not algorithmically) curated playlists can profoundly impact our emotions and behaviors – highlight our values in the moment and over time. Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode182 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096 In-episode promo:  Sheet Music Direct https://www.sheetmusicdirect.com Songtrust https://www.songtrust.com/  (use code ENHANCELIFE20 for 20% off)

I have been waiting what seems like forever to get some real information about Songtrust, a publishing administration company that I have heard a lot about, but most of what heard seemed like misinformation. Well, in this video we go directly to the source and speak to the Associate Director of Marketing for Songtrust, Renée Buchholtz. Not only do we find out EXACTLY what Songtrust does and how they do it, but we also get an excellent primer on music publishing in general! (Note: This video is NOT sponsored by Songtrust! I'm just nosy.) #royalties #songwriter #musician  @songtrust  LINKS IN THIS VIDEO: MUSIC ROYALTIES CHECKLIST FROM SONGTRUST: https://www.songtrust.com/make-music-income-checklist SONGTRUST SIGNUP https://www.songtrust.com/make-music-income-signup FREE EBOOK: THE DO-EVERYTHING CHECKLIST FOR YOUR SONGS https://makemusicincome.com/checklist -- Introducing STREAMS! Join our new community STREAMS for FREE at https://www.musicincomestreams.com/ We bring together composers, producers, artists, beatmakers, and musicians ready to elevate their music career to inspire, motivate, and learn from one another, so that we can celebrate and share our wins, overcome challenges together, and exponentially grow both our music income, and our creative impact on the world. Join NOW for FREE! https://www.musicincomestreams.com/ -- READY TO GET GOING IN MUSIC LICENSING? Check Out "The Stock Market: Where, Why, and How to Submit Your Music to Stock Music Libraries and Micro-Sync Sites." Find out more here and get a THREE FREE PREVIEW MODULES

Únete a este canal para recibir respuesta prioritaria a tus comentarios, y más:https://www.youtube.com/channel/UC-BuQscBRRi1OUTezwICm-w/joinNombre artístico, canciones, masters, ¿cómo y dónde debes registrarte? En este programa resolvemos las preguntas más frecuentes sobre el registro de nombre artístico, registros autorales y cómo generar el copyright de tus canciones.00:00 Intro02:00 1) Registro de nombre artístico (como marca y reserva de uso)06:37 2) Registro autoral (sociedades autorales, PROs, editoras)11:20 3) Registro de master o grabación14:35 Bonus: Registro en SoundexchangeRECURSOS Y ENLACES

This latest addition to the acclaimed book series continues the author's trend of making complex musical concepts clear and accessible for all ages. Award-winning author and educator Carolyn Sloan introduces her newest resource for parents, kids, and teachers: “Welcome to the Opera.” We also discuss the other titles in the series; her award-winning education technology platform; how these resources are igniting the lifelong-learner spark in homes and classrooms; and Carolyn's passion for nurturing the holistic education of the next generation. Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode175 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096 In-episode promo:  JAMBAR https://jambar.com/  Songtrust https://www.songtrust.com/  (use code ENHANCELIFE20 for 20% off)

En este podcast tuvimos la oportunidad de compartir con Marvin, un empresario y representante de Songtrust. Marvin, mejor conocido como ASAP Marvin, le llegó al podcast para hablar sobre su experiencia trabajando con Songtrust, darnos códigos sobre sincronización y tácticas para conseguir "Placements" en películas y comerciales. INVITADO https://www.instagram.com/asap.marvin_ Smash Hits Website (Discord Community, Beats, Merch, Academy, Social Media): https://www.smashhits-music.com Email: smashhitmusic@gmail.com

Scientific evidence supports the health benefits of the arts and neuroaesthetics. The Arts on Prescription model provides the infrastructure to allow arts activities (such as a concert) to be prescribed by your healthcare provider as part of your wellness plan. At the forefront of this model is Dr. Tasha Golden, who co-authored a groundbreaking guide on this fusion of arts, nature, and healthcare. Discover how communities can integrate these practices, and hear firsthand about the innovative initiatives reshaping wellness. Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode172 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096 In-episode promo:  Songtrust https://www.songtrust.com/  (use code ENHANCELIFE20 for 20% off) Arts for the Health of It podcast https://heartsneedart.org/podcast/  

Are you being paid for the music that you write? Ensure that you are getting the royalties you deserve as we dive into music publishing administration. Joining Bree Noble on today's show is Downtown Music's President of Publishing, Emily Stephenson, who helps us navigate the world of music publishing and why artists need publishers for their music. What is the role of a publisher? How do you identify which ones to go with? How does Downtown Music differ from SongTrust? What is fair pay and what does the National Music Publishers' Administration (NMPA) do about it? Emily answers these questions and more. So tune in to this episode to equip yourself with great information as you continue your way to becoming a profitable musician.

Dive into the intriguing world of musical anhedonia with Dr. Psyche Loui as she unveils the mysteries of why some people simply don't find pleasure in music. Explore the brain's intricate connections, the role of predictions, and discover the captivating stories of those who live without the universal language of melody. Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode170 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096 In-episode promo: Songtrust https://www.songtrust.com/  (use code ENHANCELIFE20 for 20% off)  

El Lic. Alexiomar habla con el equipo de Destra® Legal desde Medellín para comparar cómo opera la industria musical en Colombia vs. los Estados Unidos y Puerto Rico.

Don't miss this captivating conversation on how music and food can enhance our lives in unexpected ways! Jennifer Maxwell, a mother of six, athlete, musician, and food science expert, shares her journey from creating the iconic PowerBar to launching her new Certified Organic energy bar called JAMBAR. With flavors like Jammin' Jazzleberry and Chocolate Cha Cha, JAMBAR combines Jennifer's passions for nutrition, athletics, music, and community. Tune in to discover how Jennifer's love for music led her to the drums and how she beautifully blends her expertise in food science with her musical inspiration to create these delicious and nutritious bars. Find out how JAMBAR stands out in the crowded energy bar market, offering real food ingredients, organic nutrition, and a satisfying taste without excessive sweetness. Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode160 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096 In-episode promo: Songtrust https://www.songtrust.com/  (use code ENHANCELIFE20 for 20% off)  

In this episode 'How Songtrust Is Reinventing Music Administration for Your Songs', we sit down and speak with Virginie Berger VP of Global Publishing & Society Relations at Songtrust. ****** Use code MUBUTV10 to get 10% off of your order with the Music Business Registry here

Voices of Hope builds choral singing communities in correctional facilities. Its founder and Artistic Director explains music's impact on choir participants (internal and external); its unique ability to transcend limitations; and its role in social justice and justice reform. Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/https://mpetersonmusic.com/podcast/episode156 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096 In-episode promo: Songtrust https://www.songtrust.com/  (use code ENHANCELIFE20 for 20% off)  

Para muchos artistas y compositores el tema de las regalías sigue siendo un terreno desconocido, y más cuando se trata de dividir los ingresos en diferentes partes, o aún en composiciones de un único autor, suelen no tener claro cómo y de dónde recibirán sus regalías autorales.El tema de las regalías autorales tiene su complejidad, por eso aquí explico las nociones básicas sobre las regalías autorales en la música, cómo cobrarlas y, algunos conceptos más.00:00 Intro02:14 Qué son las regalías autorales02:27 Las 2 fuentes de donde vienen las regalías autorales02:55 Cómo cobrar ambas partes de las regalías autorales04:37 División de Regalías: ¿Cuándo se da y qué hay que firmar?06:39 Split Sheet (Hoja de Reparto)RECURSOS Y ENLACESSolicita sin costo HOJA DE REPARTO mencionada en el programa: https://www.midisquera.com/hojaderepartoSociedades autorales:México SACM, Colombia ACINPRO, Argentina la SADAIC, Perú APDAYC, Chile SCD, España SGAE. En EEUU las PRO: BMI o ASCAP.Administración editorial:SongTrust o el servicio de administración editorial de tu distribuidora, algunas que lo ofrecen son:https://onerpm.com/es/administracion-de-derechos-y-editorialhttps://www.tunecore.com/es/music-publishing-administrationhttps://symphoniclatino.com/administracion-editorial/https://es.cdbaby.com/cd-baby-cost/https://dittomusic.com/es/publishing/

If there is a musical activity whose health benefits I tend to hear and read the most about, it is singing. What makes singing so special, and what impact does it have on our physical, mental, and spiritual health? Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode151 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096 In-episode promo: Songtrust https://www.songtrust.com/  (use code ENHANCELIFE20 for 20% off)  

En esta ocasión estuvimos acompañados de Marvin García, U.S. Latin / LATAM Marketing Specialist de Songtrust, empresa especializada en al administración independiente de Publishing de compositores. En este episodio profundizamos los conceptos más importantes del mundo del Publishing, así como las problemáticas más grandes a las que se enfrentan los compositores independientes para poder administrar correctamente sus derechos editoriales y recolectar efectivamente sus regalías. Este episodio se hace realidad gracias a @blackbearmusic y a su equipo @generyboy, @pipemontoyamusic y @many4track Presenta: @Destra Entertainment Lawyers Con: @maurodestra, @sebasdestra y @asap.marvin

Kyle Thiede is the Director of Copyright at Songtrust, the world's largest technology solution for global music publishing royalty collection and administration. His personal mission within the music publishing industry is to address the global bureaucracy that disrupts performance and growth, working with other professionals to rebuild standards, procedures and a fundamental infrastructure within music for a more equitable royalty collection ecosystem.Here's what you'll learn about: What artists do wrong when it comes to music publishingHow 500 million dollars of royalties goes unclaimed by music artists The benefits Songtrust gives creators for accessing their royalties   Learn more about Songtrust here: https://www.songtrust.com/Want to Fast Track Your Music Career? Try MusicMentor™ Pro For Free: https://link.modernmusician.me/MusicMentorApply for Gold Artist Academy: https://link.modernmusician.me/apply-for-coaching 

Rory Felton has spent most of his past two decades in music being pro-artist. He developed talent and sold millions of records under his Militia Group label that he co-founded and eventually sold to Sony. In the early days of social media, Rory worked with Top 40 artists and majors to monetize on these new platforms. That's why it was ironic that Rory was recently criticized for being anti-artist. Rory founded HitPiece two years ago. HitPiece is an NFT marketplace focused solely on music collections. While in beta earlier this year, unauthorized NFTs from big-name artists became available for purchase on HitPiece. HitPiece was hit with wide-spread backlash from artists, the RIAA, and many others for copyright infringement. The company quickly went dark while the team recalibrated its business.Months later, HitPiece has now re-launched. This time with strictly-authenticated collections on-site from rising artists like ATL Jacob, Pyrex Whippa, and proven commodities such as Rick Ross. A metaverse add-on is also in the works to virtually display purchased NFTs. In many ways, the industry-wide blowback changed both Rory and HitPiece. The company's intent has stayed consistent from the get-go: to make NFTs easy for both artists and fans.Rory joined me on the show to cover what went wrong with HitPiece earlier this year, why this relaunch is different, and the opportunities and challenges NFTs have inside the music industry. Here's everything we covered:[2:58] Rory's two decades in the industry pre-HitPiece[6:07] “Best time in human history to be an artist” [9:19] What went wrong with HitPiece's beta release[13:33] Re-gaining industry trust after the backlash [16:22] Did HitPiece consider rebranding?[19:12] How HitPiece built a collection with rising star ATL Jacob[20:27] Web3 co-existing with industry, not replacing it[27:34] Building out a music-centric metaverse [33:32] How HitPiece will compete against Facebook, Opensea, and other big players[35:57] Types of NFT collections on HitPiece[39:00] How to win the music industry in 2022 and onward [43:17] HitPiece plans for 2023Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Rory Felton, @Roryfelton Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo.TRANSCRIPTION[00:00:00] Rory Felton: We think this space is for everyone. And we think that the smallest artists on the planet can actually benefit from Web 3.0 in a way that maybe streaming isn't changing the game for them right now. For instance, we've worked with baby developing artists that are making more money from Web 3.0 in one launch of an NFT collection than they would over two to three months from streaming. In general, we all think music's the coolest thing in the world. And so we want to revalue it in a way that maybe NFTs allow us to that technology hasn't enabled in the past.[00:00:40] Dan Runcie: Hey, welcome to The Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip-hop culture to the next level. [00:00:60] Dan Runcie: Today's guest is Rory Felton. He is the co-founder and CEO of HitPiece, a company that's bringing artists and fans together through NFTs in real life experiences, metaverse experiences and more. HitPiece is one of our sponsors this quarter for Trapital, and I wanted to have this conversation because Rory and HitPiece have had a very interesting past couple of months. Back in February, they launched a platform, but there was a ton of controversy surrounding it because a lot of artists had their music and their NFTs for sale on the platform without their consent, and understandably so, it created a bunch of frustration and news around some of the consent around NFTs, some of the perception around the space overall and how that impacted Rory and the team. So in this conversation, we talked about it. We talked about how that happened, why it happened, and what Roy and the team are doing now moving forward for that not to happen in the future. And then we talked about what does HitPiece look like now moving forward, what are the opportunities more broadly for Web 3.0 companies in music, what are some of the challenges, what are some of the artists that they're working with now, like ATL Jacob, who just signed with Republic Records. So we talked about that, and Rory has a ton of experience in the music industry, even before HitPiece. So we talked about how that shapes his current strategy and what he thinks successful look like, not just for HitPiece, but for the overall industry moving forward. Great conversation and tons of insights, and especially for a lot of the founders that have built stuff messed up and want to hear what it's like to keep things going. This is a good one to listen to. Here's my chat with Rory. [00:02:39] Dan Runcie: All right. Today we are joined by Rory Felton, who is the co-founder and CEO of HitPiece. But before we talk about HitPiece or anything like that, I know you've worked in music for a number of years and you've had a few different hats in this industry. What attracted you to the space early on? [00:02:58] Rory Felton: Oh, man. So when I was 15, I started playing music and I learned pretty quickly that I really couldn't write songs very well. So when I was 16, I started putting on local shows for artists booking regional acts, and that naturally turned into putting out records for artists. And in the nineties, we were manufacturing CDs, so I actually learned the process of printing, shipping it to a factory, calling distributors, trying to get them to ship out our CDs to retailers. And that's how I started. In 2000, I moved out to LA to go to school at SC, was a little bored and started another record label. Our first few records did quite well. I think our first record almost went gold, and so that created enough revenue to really fund the company and grow that record label. And for the next 10 years, we ended up selling millions of records. I developed dozens of artists, felt really proud of what we accomplished. Sony Music later invested in the company and later acquired the major artists that I worked And I took a breather for a moment because working with artists can be a lot of work and can be emotional and and challenging in so many ways, but also fun and exciting. And I ended up finding a real passion for the technology side of the music industry. I really wanted to have sort of a macro impact on the industry in helping artists create new technologies to connect with their fan base, develop new business models. And I saw, sort of saw the old record company structure or record deal structure is sort of a little bit antiquated, and there are so many technologies here that could allow artists to directly connect with their fans and connect and create new and unique revenue streams. And so I spent several years in the early 2010s helping top 40 artists sell music and merchandise in stream on social media like Gaga, Green Day, Snoop Dog, Tim McGraw, A$AP Rocky, all the major labels. And I did a couple years overseas on a volunteer trip and then came back to the music space really on artist management initially, but also in blockchain. I bought Bitcoin in 2014 and was always really curious about blockchain's application to the music space. And in 2018 I co-wrote a white paper on digital collectibles for artists and could not get anyone's attention back then on this space and the idea of fans buying digital merchandise from artists and connecting with them and the idea of an artist creating a layer of community ownership and what they were doing. And then obviously fast forward a couple of years, the NFT space, that specific protocol has really taken off four creatives and four artists. And I decided to jump in full time to apply this innovation to the music industry 'cause I saw so many opportunities for artists to take advantage of it.[00:05:43] Dan Runcie: That makes sense. And one thing there before we get to the HitPiece part of it where you are today, selling your record label and everything there to Sony, what is it like watching the current movement now with other record labels being bought up by other record labels, especially the majors or just some of the catalog purchases there? Because I'm sure you did this in a very different market than what we're seeing now. [00:06:07] Rory Felton: Yeah, so a lot of people don't remember this, but in 2006 to like 2011, it was really hairy for the record industry. There were a lot of unknowns. Downloading was here, digital like iTunes and its competitors, however, streaming as a paid streaming format really hadn't taken off or really been fully established. And so you had these massive problems still with file sharing and people just assuming music was free, right? And just downloading it without paying for it from all sorts of websites. And so there was this moment, an era where like, gosh, golly, we don't know if these major labels are really going to figure it out. And kudos to them, they struck some really savvy deals and made streaming something that really, really worked. So today's era has been amazing. I get really excited for artists that are able to have huge liquidity opportunities if they've built a catalog over their lifetime. And then also I get really excited just as more opportunities to finance your career than there ever have been. You can now borrow against your catalog. You can borrow against your master rights or publishing rights to fund something you want to do moving forward. You could never do that 10 or 15 years ago. So you have players like that in this space. You have distributors in this space, almost playing like record labels and advancing monies to artists, but allowing artists to keep their masters. And then you have record labels sort of playing as distributors. And so you have all these middle men kind of playing as different roles. And I think it's great 'cause artists have more opportunity now than they've ever been. I've been saying this for a few years. It is the best time in human history to be a music artist. It was so hard in the nineties and so hard in the early 2000s to stand out, and now even though we are in some economic challenges right now, and just the macro economy, it's still really the best time in human history to be a music artist. [00:07:59] Dan Runcie: Yeah, I think that's generally where I land with this too. I know that there's a lot of people that have a bit of the nostalgia and yearning for being able to sell CDs and being able to make the money off of CDs, but it was still a market that had tons of gatekeepers. And even without Napster, I still think that there would be a lot of challenges 'cause there were a bunch of CD sales that were of bad catalog that weren't exactly of new things, but we could go all day talking about that. But it was a fascinating time for sure. But fast forwarding a few years though, with HitPiece, of course you have the idea and you see the opportunity to be able to make it easier for artists to monetize and take advantage of what's here. And I know that earlier this year, the launch day didn't go the way that you had wanted it to. And there was a lot of press and some negative things written about just the intent and where you all were trying to go. And I know that there are also a few artists too, whether it's like Jack Antonoff and a few others that had some complaints about how it went down and after reading a few of those, I definitely saw some of the responses and from your perspective as well, but I never really got a good, clear sense for what was the . Intent and what would this have looked like if the launch had went as well as it could have, so it'd be great to hear a little bit about that, because I feel that's the part that was a little bit missing in some of the discussions about what had happened. [00:09:19] Rory Felton: Yeah. So first and foremost, I really believe in innovation, and I really believe in enriching artists, and artists being able to control their music and what they're doing. And so we were looking at this space and thinking about like, man, if I put on my music fan hat, what's the ideal experience I want as a music fan? What would I love to have more than anything? And platforms like Spotify and Apple Music has sort of trained us to feel like everything could be in one place. And so we put together this idea to create an experiment where we tried to show artists and labels and rights holders, hey, this is what the future could look like. Here's sort of this private game experience that we think would be really fun to onboard a huge number of people into this space very quickly and create a massive revenue stream for artists and rights holders. And where we really messed up is we failed to put the proper guardrails around it to where too much of it was public too fast. And that was something that we definitely messed up with. We were having active discussions with hundreds of artists, managers, major record companies. We had showed them what we're doing. Hey, what do you think of this experience we're creating? And all the feedback that we received was highly positive. Everyone was really excited about this potential future for a platform that could turn on a whole new revenue stream for them without a lot of work. One thing I've experienced as a manager and a record company founder is that artists are so busy. They're in the studio making music all the time. They have to go on tour, they have to make content for social media all the time right now. They're so busy doing all these things you don't want to add just another thing to their plate. And so we've always tried to make it, what's the easiest way for them to onboard into a new space without having to create a huge amount of work for them? So that was our intent. Clearly, we failed to have the proper guard rails around it. And we took down the beta after a few weeks. And there were obviously some artists that expressed some frustration with it. And since then, we've had conversations with hundreds of artists and labels and managers and industry leaders, sharing with them how we feel about this space, what we think is coming, and the overall sediment has been really about excitement and enthusiasm. about what's coming in this space and the opportunities that are being created for artists and rights holders in this space. [00:11:39] Dan Runcie: Got it. So if I'm understanding correctly, it's like you were trying to show, okay, this is what it could look like. Let's give you an example of what this could look like. Like, if your Taylor Swift, like this is a type of revenue stream that you could unlock, but the presentation of it was more so, hey, here's where you can buy Taylor Swift's, you know, access to her likeness or access to her music. And you were trying to more so show a demo as opposed to an actual marketplace. Do I have that right? [00:12:07] Rory Felton: Yeah, it was definitely a live demo. There was no music used on the website. As a music rights holder myself, as someone that's worked with artists for decades, we would never utilize music in a way that was infringing on their rights or unapproved in any way. And that's something that I think really got lost in the storm of it all is the fact that there was no music on the website. We had some marketing language on the website, and again, we've looked at this as a beta experiment for a small audience. It was by no means built or intended to be exposed to the world at large. But we did have some language on the website that was not fully fleshed out at the time, again, like many beta experiments are. [00:12:49] Dan Runcie: So was part of it also as well that the beta was meant to be a bit of a closed opportunity, but then it leaked, or then it got out? [00:12:58] Rory Felton: It was public and that was an error on our end. You know, we failed to have the guardrails built around to cut off certain sections or functions of the website that shouldn't have been made public.[00:13:08] Dan Runcie: Got it. Okay. So since then, how has it been having a lot of these conversations? 'cause obviously you were able to drum up a bunch of support leading up to February and you still had plenty of connections now with artists that we'll get into soon. But what was it like having those conversations, whether it's with labels or others where you're trying to communicate not just what happened but also build up a bit of trust given the impact?[00:13:33] Rory Felton: Yeah. What we found is that, well, having been in this industry for two decades, I have a huge number of relationships from, you know, the tops of the major record companies, major publishers to many, many, many managers of both developing artists and some of the biggest artists in the world. And they know me, right, so they knew my heart, they knew where I was coming from, and I just was able to be honest with them, and say, look, we moved a little too fast here. We built this product a little too fast without fully flushing out where we should put certain guardrails in place, and the response was, hey, look, we get it, no problem. We're looking for solutions in this space. We need easy ways to launch collections to audiences that might want to be interested in this. And right now everything on the market feels a little too complicated, right? NFTs and Web 3.0, it feels nerdy and it feels complex. And I think a lot of the early people in this space may have made it that way on purpose so that there feels like there's a level of like seniority or gatekeeping to it. And we've approached this and been like, no, this is actually pretty simple. This is actually making what has existed in the world of music already, such as VIP experiences, and fan clubs, and even, like, DRM music, and it's creating it on a layer of new technology that actually gives more ownership to fans and actually deepens relationships between artists and fans. And so that response has been really exciting and I think that's what's contributed to us being able to onboard the large volume of artists that we have onboarded so far and continue to have exciting conversations every single day with folks across this space. [00:15:14] Dan Runcie: Have there been any lingering impacts since then? Like, obviously there's the initial response and things have happened. But since you've relaunched. And it does seem like, as you mentioned, you still are stable of artists and there are a bunch of folks that you're working with but are there any lingering impacts from what had happened? [00:15:30] Rory Felton: I would say there's probably still some artists that just don't want to have anything to do with the NFT space. I think that in general, there's still a lot of misunderstanding around what Web 3.0 is and what it can enable, and there seems to, generally speaking, a level of negative sentiment towards NFTs in some categories of the music industry. But that seems to be sort of a blanket feeling or sentiment towards NFTs, not necessarily what we're doing.[00:15:58] Dan Runcie: Yeah, I've heard that from, was just talking to a few people about this earlier this week, and we've heard it as well, just the polarizing nature of it that's bigger than HitPiece. And I think it's something for a lot of companies to navigate, but it's not necessarily at one company itself. But, I guess, leading up to the relaunch recently, were there any talks at all about rebranding or anything like that? 'Cause obviously I know that staying with the name is also a statement in itself. [00:16:22] Rory Felton: Yeah, clearly, we thought about every sort of path we could take. You know, we even thought like, do we want to do this? Like, is this worth the battle, right? And what we decided at the end of the day was, look, some folks thought we were doing something we were not doing at all. Our intent was completely misconstrued, and we felt like if we were to shut it all down and say, you know, good night. It's almost like the people that were creating this narrative would've won or that narrative would've become true, right? In our hearts, in our feeling, and everyone at the company that's at the company that was experienced all that, we all felt together, like, look, this isn't what we are doing. This isn't what we're all about. Like, we should stick with it and see this through because we felt like the brand was now very well known for better or worse, and it's up to us to sort of, to see it through and show to the world that, no, this isn't what we were trying to do. We're actually making something amazing, we think, for artists and so far, in the collections that we've launched has done really well for the artists that we've worked with. So that's what led to our decision to stick with the brand and keep going. We could have posited to a whole other brand, but everyone would just say, oh, those are the same folks that did this. So what would be the point of that? Because it's still me. Unlike a lot of people in this space, I've never been anonymous, right? I've always been completely public with who I am. HitPiece was on my LinkedIn, on my branding since early last year. I didn't hide from any of this. I engaged with anyone that wanted to have a conversation and still will. So it's not in our nature to hide or to run away. We think that Web 3.0 is still a huge game changer for both developing and establishing artists, and we want to provide incredible solutions for artists. [00:18:10] Dan Runcie: And what was the hardest part for you personally during all of this, as the founder, as the leader of the organization, but also as a human being dealing with the fallout and just trying to keep things moving?[00:18:22] Rory Felton: Oh gosh. I think for a little bit, like, you know, personally I'm a father. I'm a husband, and so for me, it's just not letting what some people in social media or in the media might say about me impact who I know I am and who I am to my family. First and foremost, that's always most important to me. So that was probably the biggest challenge and, you know, clearly, it's not something that we wanted to happen, but we're really excited and bullish on the future right now. [00:18:48] Dan Runcie: For sure. And I think you have a lot of reasons, too. One of the artists that you have, ATL Jacob recently signed a deal with Republic Records. And I think he's someone who's definitely been rising quite a bit, and I assume that's a partnership that you are able to land in the most recent months. So what did that look like and what has it been like working alongside someone like him and then seeing the growth continue?[00:19:12] Rory Felton: Yeah, Jacob was amazing. We are so blessed to really have just the perfect time to connect and meet him and hear about what he thought about this space, and what he wanted to do, and had that sort of build a collection together that really made sense for his brand and offer value to his super fans that really you can't get any other way. And so that's what we're really excited about. We, of course, knew he was in conversations with major labels at the time and knew something would happen in that space. We just feel honored and privileged that we get to be his partner for Web 3.0 because he's clearly an incredible talent that's had huge success on the producing side in the last couple of years, and I think we're going to see him break out as an artist over the next year and reach completely new milestones as well in his career.[00:19:57] Dan Runcie: And what was it like for what he was able to do specifically on HitPiece? 'Cause I think a lot of people that see artists, they understand what it's like to be on a major label, but from an economic standpoint, like what they were able to do with a platform like yours, there still is a bit of questions, and this honestly may lead to some of the confusion some artists may have about NFTs, Web 3.0 in general, so obviously you may not be able to share all the details, but, like, what did things look like for him right now with what you've all been able to work on and what he's released, and what that ends up looking like for him? [00:20:27] Rory Felton: Yeah, so he's building a beautiful collection of art that's going to be completely collectible, and those tokens will be connected to incredible in real-life experiences. So some of those tokens can be redeemed for a studio session with ATL Jacob. So rather than, typically in the music industry, right, you have to go through a manager or you have to go through a record company. You have to go through gatekeepers to get to someone on Jacob's level. Here we're saying, no, let's break down all the barriers and say, actually through Web 3.0, you can have an incredible experience, and you could work with, you know, a producer that spends six months at the number one rap producer chart on Billboard. Like, you can actually work with them and make a record together, right? Experiences like that we think are incredible, exclusive merchandising items. And being able to essentially build a really connected VIP club of sorts that will get you access to experiences, to events, to really in- person, one on one time with these artists and producers that people love. You know, this is what I think Web 3.0 is all about. It's creating experiences that are unparalleled in other parts of the music industry. [00:21:40] Dan Runcie: So given those experiences, and I think those are definitely things that fans and everything value and things that he could likely build a career standalone on. Is there any particular question or thought about when an artist-producer like him goes in, does a deal with a major label as a bit of it like, oh, well why did you need to do that? Like, you could have continued working here, like, part of the promise is getting more inherent value for the work itself. Was there any tension there at all with him or even with some of the other artists? [00:22:11] Rory Felton: No, because every artist is different, and every artist gets different types of opportunities. And to me, Web 3.0 is not about being in Web 3.0 only and forgetting about the rest of the industry. It's not like you release your content or your music only as NFT and you don't do streaming, right? It's not like you do that only and you don't go on tour, or you don't sync your music to film and TV, or you don't do brand partnerships. It's just one part of the bigger puzzle of connecting with fans and connecting with bigger audiences. I think this huge opportunity for artists to connect with fans through Web 3.0 while also doing partnerships on the record side that they want to do that work best for them and their brand. For Jacob specifically, he has a whole record label, Wicked Money Family, that he can do. He can sign new artists, too, and they all can go through this bigger system. That's not something that not every artist can just do on their own, right, being able to plug into a bigger system is great for him. What it does do is it may limit what type of content an artist can mint as an NFT on their own, such as if you're in an exclusive recording contract, it may limit or prohibit what specifically you can do with music. But those are always open discussions, and every single recording contract is unique and specific and different, and provide artists and labels with all sorts of different rights.[00:23:35] Dan Runcie: Got it. So for someone like him, and I guess as well thinking about how you're building the business, I do feel like your stance essentially is that a company like HitPiece can work, and they don't necessarily have to be exclusively here. They could work with majors, they could work with others. Do you feel like that mentality is similar to other founders you may talk to in Web 3.0 or with NFTs? Because some of the folks I talk to, there's a bit more of that dogmatic approach where the purpose of our platform is that you don't need to do that. [00:24:08] Rory Felton: Yeah. So first and foremost, every partnership we have with an artist is non-exclusive. They could do a collection with us and go to a collection with anyone else or on their own using their own software at any time. That's something that I believe in. I believe in, like, we're not here to be an exclusive partner in any way. So I believe in artist freedom. Artists should have the freedom to do a record deal if they want to. Artists should also have the freedom to say, hey, look, I'm going to stay independent. I'm going to build up a balance sheet of masters and publishing that I own, and I'm going to leverage that in the way that I want to. I think every path is different for each artist and some work for others, and some don't work for others. And I've seen artists stay independent, build balance sheets of masters, and publish they own, and be tremendously successful. They build these multimillion-dollar businesses that they can operate and function like their own business. And then at the same time, that can just build up their leverage for if a major label wants to do a deal with them, they're saying, hey, look, my business is already doing millions of dollars a year. If you want to be in business with my business, you've gotta make it worth my while. To me, it's about, I think Web 3.0 increases leverage for artists if they embrace it and engage that community. But by no means would I look at it as a dogmatic Web 3.0 anti-record company approach. I don't think that's it at all. I think we're already seeing major labels enter Web 3.0 and allow their artists to try things in Web 3.0 that I think is really exciting. And every conversation I have with major labels and people at those companies is it's curiosity, it's intriguing, it's fun. They are by no means looking at it as a do-or-die or like you said, a dogmatic approach. I come from the music industry. I think maybe some other founders in this space don't have two decades of music experience, and so they're wanting to disrupt an industry that they think needs disruption. Whereas I know all these, all my friends that work at labels or at management companies, I mean, they bleed for artists. They put their heart and soul into trying to break new artists, and these are the people you want to be a part of your business, right? You don't want to just alienate them and cut them off. That being said, historically, some record deals have been a little unfair for the artists, right? And I'm not trying to say that that's not the case, but I think innovation like Web 3.0 is continuing to increase artist leverage and continuing to give them more options. More options is really what it's all about. [00:26:42] Dan Runcie: Yeah, and I think even the point that you mentioned at the beginning of the conversation, just your stance on streaming itself and what it unlocked for the business, that is a bit more of that holistic perspective as opposed to some others that, you know, I think the belief that music should have inherent value, which it should. I think it's a bit of that dichotomy, and to be honest, you hear less of that from the record labels with, most of the time, it maybe from some of the founders and folks outside of the industry. But it's a fascinating time. It's a fascinating time. And I know that with you, you're not just thinking about NFTs and things minting for HitPiece, you're also having a metaverse, you have the Lounge and having that as an opportunity for artists, and I know that's something that's continuing developing as well. What does that look like and what does that opportunity look like for artists? [00:27:34] Rory Felton: Yeah, so one, we realized there's a small but growing population of people that love to collect music as NFT format. I think of NFT as it applies to audio music as a new format, just like there was vinyl, there was downloads, there was streaming. NFT is sort of a new type of format for music, and there wasn't really a centralized place to play all your music. There are a couple of apps butting up that allow you to sort of plug into your wallet and play your music collection. We wanted to create a space that allowed a collector to display NFTs that they're collecting from music artists on the wall, but also put them on a record shelf if they're music NFTs and allow people, allow them to come in and play their own music, allow other people to come into a fans room and play their music. I've seen that a lot of these metaverse spaces that fans are using to share their NFTs are almost like part business card part, like, showing off and bragging to their friends and their community what they own, what they collect. It reminds me a lot as being a teenager of collecting CDs and records that were hard to find from really, really new artists and sort of bragging with your friends that you got to them earlier than they did. And we wanted to sort of mimic this experience in a really cool, beautiful, metaverse space and also be a space that artists could brand and create their own version of, as well as invite their VIP community to be a part of, be it virtual record listening parties or virtual tour kickoffs where they could display or present new music. One functionality we have that artists are taking advantage of is token-gated releases. So they might release regular releases like they always do but put out maybe a limited edition mixtape that is only available to people who buy an NFT to access it. And so you go into the Lounge, our system reads that you have that NFT in your wallet and it unlocks access to music that you wouldn't otherwise have. That doesn't just have to be music. It can be all sorts of content. So the idea is you're rewarding your most engaged community token holders with really cool experiences. We speak with artists that want to create experiences that get updated every single month, so keeps fans coming back to this space that they almost treat like a social media platform or like a website, but the artist gets to control it entirely themselves.[00:29:58] Dan Runcie: I feel like the fan piece of this is the unique piece of this, and I know that's a bit of the broader conversations that people have had about the metaverse, but being able to have that type of way to actually physically show what you have, and I think this is a piece that was missing a bit from, I'll call it the first stage of the NFT boom, right? We saw a lot of people changing their profile picks, but ultimately, how do you create the opportunity for people to have some type of visual that you can see, right? Like, people are buying vinyls right now. People want to be able to have those vinyls visible or no different than buying DVDs or VHS tapes back in the day. Part of it was the medium itself, but you also, it was a statement of who you are. Having some type of collection that can show that I think it's valuable, plus all of the exclusive perks that they can get from their favorite artist or from their type of experiences. I do think that that is something that a lot of fans would value, assuming that it can be somewhere where the people that they want to see those things also are engaged in.[00:30:59] Rory Felton: Yeah, we see there's millions of people around the world that build up massive record collections on their wall. And when you go into their house, it's often the main feature of their house is their record collection. And oftentimes, that's tied to a really high-end audio system as well, depending on where you're at and your lifestyle, right? And we wanted to sort of create that experience for anyone or everyone in the metaverse space. And so that's what the Lounge is built around, is sort of to cater to that type of collector, if you will. I think we're still very early in the Web 3.0 NFT space, clearly with where the economy's at. I think we're going to start to see some huge growth over the next year or two, but we wanted to build these tools now for people so that when more and more people start to come into this space every month, every quarter, they're already ready for them to sort of plug into. And in fact, in a certain sense, it provides more utility for all NFTs. So you could buy music NFTs anywhere you want to on the internet and be able to pull them into this Lounge space we've created for them to perform, to play, and to share with their friends and their community.[00:32:05] Dan Runcie: So this leads me to the age-old question I'm sure every venture capitalist asks at some point, how do you compete this against Facebook or Meta and their offering to eventually try to do this similar type of thing? But obviously, you have a more of a specific community. But I do know that with a lot of the different types of metaverse experiences, that type of thought is something that's likely in the back of the minds for a lot of founders.[00:32:30] Rory Felton: I think that there's clearly dozens of metaverse spaces that already exist. We're not necessarily looking to create an entire universe. We just want to create experiences and artist-branded experiences. And I think potentially we see a future where these artist-branded virtual slash metaverse experiences can be interoperable with a metaverse space that Meta is building or with the other ones that exist right now, such as Sandbox and Decentraland. We, of course, being a blockchain-based company, we believe in decentralization. We think that that's a value to be recognized and to be held up. And so if we continue to see other metaverse spaces built on the same or similar blockchains, I think we're going to see them be interoperable in new ways that may currently just not exist yet. [00:33:22] Dan Runcie: And would the same type of logic apply as well for the marketplace that you all have, given folks like OpenSea or some of the other broader platforms? [00:33:32] Rory Felton: So our big differentiator from a platform like OpenSea is we only allow authenticated artists to mint NFTs in our platform. One of the big challenges I see with some of the secondary-focused NFT marketplaces is that it's a wild west still. There's an insane amount of content that infringes on other people's rights that use all sorts of artists' name, image, like this audio without any sort of permission, right? And unlike a lot of people in this space or some people in this space, we actually believe in copyright. We think that's really valuable for artists and artists investors, and we really wanted to make sure that we prevent it as much as possible, people minting content that they didn't control through our platform. And so when fans or collectors come to HitPiece.com, they can feel assured that everything on our platform is authentic, is real, is coming from the artist that says it's coming from. And that's also why we were the first NFT company to integrate with Audible Magic. Audible Magic allows us to scan every single piece of audio file that gets uploaded to HitPiece to be minted as an NFT. And we test that against their massive database of over a hundred million songs to see if that song has been registered previously or as a copyrighted work from a record company or an artist. And we've already been able to say, hang on, that song's copyright. We need to confirm whether this artist actually controls the copyright of this audio file. And so we want to make sure that only the authenticated parties, the owners of works are actually able to mint NFTs of their creative content through HitPiece. So that's a big difference I see versus like the secondary markets of the world. But we also think ours is a little bit more just music-focused, right? Music NFTs are a little different than PFP projects or artwork NFTs, and so it really requires a different experience than maybe what some of the secondary markets that appeal to every one offer, if that makes sense.[00:35:31] Dan Runcie: Yeah, that makes sense. And I assume that some of the guardrails there to make sure that things are authenticated, to make sure it has the right copyright and licensing, also tie back to ensuring that what had happened back in February doesn't happen again. So part of that authentication, I'm sure likely may slow down some of the process, but it is how you ensure that everything that is there and what is transparent and seen is ultimately what you're trying to actually sell. [00:35:57] Rory Felton: Yeah. I don't think an experience that we've built, that you can go to HitPiece.com and see right now really exists anywhere else, and we've really tried to focus on making, one, authenticated protecting rights holders. And two, just make it super simple and easy for both artists who are new to this space that may not fully understand all the language and this new terminology that's come around, make it super easy for them to create their own collections and start minting NFTs with their creative content. And then also just make it super easy for music fans, you know, that haven't purchased an NFT to be able to collect one. I would say that really a small, small number of music fans overall have still entered Web 3.0 or acquired an NFT, be it for free or purchase, and there's still a huge amount of education that platforms like ourselves need to do and others about how to onboard into this space.[00:36:52] Dan Runcie: So for you all, specifically, with the folks you have on board before and up to this point, is ATL Jacob, is he the most successful artist or the artist that's made the most money on the platform so far? [00:37:04] Rory Felton: So ATL Jacob's collection has not launched yet. We have launched a variety of collections from artists like Surf, and we have a couple of collections dropping tomorrow. This interview, of course, will be out after this date. From King Midas, who's a Baltimore artist, and from Pyrex Whippa, who's a multi-platinum producer slash artist, a part of the 808 Mafia. He's worked with artists like Future, Juice WRLD, DaBaby. And his collection also involves granting people rights to collaborate with him in the studio. Some actually get a limited-edition skateboard from him. And also some of them actually get a limited edition beat kit from him as well. So there's all these cool, both digital and in real-life experiences, tied to token ownership, which we believe in. [00:37:50] Dan Runcie: No, that's solid. [00:37:51] Rory Felton: But beyond those, we do have some other, like, multi-platinum slash diamond level music artists, Grammy-nominated artists that we're looking to announce really, really soon.[00:38:02] Dan Runcie: Any hints as to who they may be? [00:38:05] Rory Felton: I'll just say we have a lot of love for Atlanta. [00:38:08] Dan Runcie: Okay. [00:38:08] Rory Felton: Atlanta moves the culture. Atlanta's, like, where my heart is. I love going to Atlanta. I think everyone in Atlanta is just coming. Being in LA for 20 years, like Atlanta's so nice. You have that southern hospitality, but you have that hustle and that combination of both. Like, I just love being in Atlanta. I love the vibe of Atlanta. [00:38:25] Dan Runcie: All right. We'll definitely look out for that one, for sure. Thinking about the company and hearing how you're building it, though, it does make me think about this article that you had written a couple of years back. I think it was an article you posted on LinkedIn actually is like, How to Win the Music Industry of 2019-2025, and you're describing what the type of company would look like and what type of things they need to have in place. And now that we're a couple of years past that, what are you seeing in the industry now, and is there any specific company that you think is checking all those boxes? [00:39:00] Rory Felton: Oh, man. I think when I wrote that, it was one of those, like late night, man, why doesn't this company exist? You know, if I had a hundred million dollars, this is what I would do, right? And it's interesting, I see companies doing bits and pieces of that, and what's fascinating is like I sometimes forget that I published that article, and I've even had, you know, investors and venture capital people reach out, nothing to do with HitPiece. They're just really curious about what I wrote, and they're like, this is it. How do we do this? And it's been fascinating to see that piece impact, if you will. No one's doing all of that, but I'll gladly compliment folks that I think are moving in that direction. United Masters and what Steve Stoute built, I think, is incredible. If you would've told me several years ago that someone could enter the music distribution space with a similar offering to other platforms out there, I never would've thought someone could truly compete. But kudos to him and his team, they've completely proved me, and I'll think a lot of people wrong. They've made a huge impact in, again, creating more opportunities for artists who can own their own content and not necessarily feel like they're stuck to have to do the traditional record deal. I think what they're doing is pretty amazing. Let's see, who else? I got to give out props to Downtown Music Holdings group. I think they're doing a huge amount of innovation in this space, both on the record side, on the distribution side, and on the publishing side. I'm a huge fan of Songtrust and what they built and that offering. I tell every music artist to work with if they do not have a publishing deal, sign up with Songtrust. It's a super easy admin deal that just creates a great solution that captures money that you just cannot capture any other way. I try to tell every music artist, I'm like, look, if you're writing your own music, you're writing your own songs, you're not going to get all your money that's due to you, just through your PRO. Artists, unfortunately, they're so busy, so much going on, they don't fully understand that. And so it's, like, the artists that I've seen turn on to a platform like Songtrust, they've literally turned on five figures plus in revenue in a quarter because that money is just sitting there if they don't capture it, eventually just goes away, which is really sad. So those are my shout-outs. Those are companies that I think are doing it well. I think with that piece, if I were to critique it now, I think it's a little too broad. There's a little too much going on for one company to do. But I'm a big fan of companies that, you know, believe in artistic freedom and innovation and providing more tools and opportunities for artists while also actually creating real success for them.[00:41:26] Dan Runcie: Yeah. I think what sticks out about those two companies is both the partnerships and the fact that there's, you know, overall companies that are tying both of them together, right? So United Masters is obviously tied to the work that Stoute had done with or is currently doing with Translation on the ad side. And then that also informs so many of the partnerships and just how he has been able to help think and expand things there. And then Downtown, specifically how they've been able to just reorganize a few of the things and then restructure to just understand, okay, what could that stack look like. What could it have to have all of these companies underneath, but in this way that feels practical, but not in this way of, you know, a company trying to check every box that's the hottest topic right now. [00:42:12] Rory Felton: Yeah, yeah, absolutely. I think companies are wise to, that are established in at scale. They're wise to take their time with Web 3.0 versus jump into it head-on per se. And I would encourage everyone to experiment. I think you can experiment in this space and try new things without having to go completely in. And of course, we're a great solution to experiment with. But there's clearly a variety of opportunities out there to do things. And quite frankly, no one knows exactly how the NFT innovation's going to be utilized in a few years from now, right? We have our hunch. We think it's going to be connected to real-life experiences and real amazing virtual experiences. However, I think there's all sorts of innovation that maybe hasn't even been created yet for its application, such as to ticketing and other categories as well. [00:43:05] Dan Runcie: Yeah, there's so much more to explore. We're still in the early innings with this. I'm excited to see what's next. But before we wrap things up, let's talk about what's next for you all. What does 2023 look like? What are the big things on the roadmap? [00:43:17] Rory Felton: Yeah, so as you mentioned, we've been building the Lounge metaverse space to connect artists and fans as well as give fans a great way to display and show off the collections that they own. So that's going to be launching soon. We clearly have some really amazing collections coming up from some really top-tier artists that we're excited to announce really soon as well. And then we fully built out now this completely self-service solution for independent artists to come in and start minting NFTs with their content. We haven't really focused on presenting that or pushing that yet to the independent community at scale. But that's something that we are looking forward to. We felt that it was best, hey, look, we want to establish that there is interest and demand for this space. That's why we focused on more established artists, artists with audiences initially, but really we think this space is for everyone. And we think that the smallest artists on the planet can actually benefit from Web 3.0 in a way that maybe streaming isn't changing the game for them right now. For instance, we've worked with baby developing artists that are making more money from Web 3.0 in one launch of an NFT collection than they would over two to three months from streaming. And I think this again goes back to humanity and society sort of revaluing music. In general, we all think music's the coolest thing in the world. We all think music is the most divine thing that we get to participate in as humans. And so we want to revalue it in a way that maybe NFTs allow us to that technology hasn't enabled in the past. And I think more than ever this concept of a thousand true fans is truer than ever, right, if an artist doesn't need to be a pop star to make a living. They really just need to cater to a niche of dedicated fans that love what they're doing. And NFTs and Web 3.0 really allow that artist to benefit from that type of model more than ever before. [00:45:08] Dan Runcie: I know. It's fascinating. It's an exciting time to see all the developments and what's going to come down the pipe for you all, what's going to come down for everyone else. It's going to be an exciting time. That's why so many of us are in this industry, right? But before we let you go though, where can people follow along with HitPiece if they want to stay and tap with what you have coming on, or if they want to follow along, where should they go?[00:45:28] Rory Felton: Yeah, so clearly you can go to HitPiece.com. You can just put in your email if you don't want to sign up yet and just follow updates from us on our email list. You can find us on Twitter or Instagram @joinHitPiece. You can even follow me on Twitter or Instagram if you'd like, @RoryFelton. Everything's open and my life is really an open book for everyone.[00:45:48] Dan Runcie: Awesome. Thanks, Rory. This is great. Thanks for coming on. [00:45:51] Rory Felton: Thanks, Dan, for your time. We really appreciate it.[00:45:54] Dan Runcie: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast, go ahead, rate the podcast. Give it a high rating and leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.Advertising Inquiries: https://redcircle.com/brands

Learn how schools are organically integrating STEAM education while differentiating their innovative offerings… and within their budget parameters. We discuss the benefits of bringing music production & songwriting into the classroom; why it's such a hit with students, parents, and teachers alike; and resources to get started in your school. Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode138 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096 In-episode promo: Songtrust https://www.songtrust.com/ (use code ENHANCELIFE20 for 20% off)

On this episode we talk with Josh Williams and dive into the following topics:  Do you perform all of the following for your song before submitting? Copyright, PRO or Songtrust, and SoundExchange? What does your time management while creating look like? Do you guys usually try to knock things out in one session w/breaks? Or come back based on time/when it's due? Are there any directories specifically accessible to producers? And how can we get hip hop or Piano type music? What is the best music production software to use for PC? Is sending a link to sync companies better than sending attachments? If so, why? What kind of link should you send? Follow Josh on IG: https://www.instagram.com/xj_will Follow Clint on IG: https://www.instagram.com/clintmusic Watch Clint on Youtube: https://www.youtube.com/aclintjr Link To Resources: https://www.clintproductions.com/linkinbio Urban Mixing Made Simple - https://www.clintproductions.com/courses Road To 10 Placements - https://www.roadto10placements.com

Probablemente estás perdiendo dinero por nuestra registrado en los lugares correctos, en este episodio vamos a hablar de lo que tienes que hacer. Pero comenzando, si no estás vendiendo beats todavía, descarga mi guía gratuita y obtén tu primera venta en menos de 30 días. Descargala en: https://www.SonidoPro.com/primeraventa Registrate en Songtrust y recibe el dinero de publishing que genera tu música y obtén un 10% en el registro usando el siguiente link: app.songtrust.com/signup/?referral_code=303856a-$GJ Si quieres registrarte en Distrofia y subir tus beats a todas las tiendas digitales, regístrate con descuento utilizando el siguiente link: http://distrokid.com/vip/crivas Escucha producciones que he hecho: https://open.spotify.com/playlist/4Ezi4qxas8zO2vtiiJlGAi?si=56c709d1743a4cd9 CONTACTO: www.SonidoPro.com www.CrivasOficial.com Instagram @CrivasOficial Mail info@CrivasOficial.com

Probablemente estás perdiendo dinero por nuestra registrado en los lugares correctos, en este episodio vamos a hablar de lo que tienes que hacer. Pero comenzando, si no estás vendiendo beats todavía, descarga mi guía gratuita y obtén tu primera venta en menos de 30 días. Descargala en: https://www.SonidoPro.com/primeraventa Registrate en Songtrust y recibe el dinero de publishing que genera tu música y obtén un 10% en el registro usando el siguiente link: app.songtrust.com/signup/?referral_code=303856a-$GJ Si quieres registrarte en Distrofia y subir tus beats a todas las tiendas digitales, regístrate con descuento utilizando el siguiente link: http://distrokid.com/vip/crivas Escucha producciones que he hecho: https://open.spotify.com/playlist/4Ezi4qxas8zO2vtiiJlGAi?si=56c709d1743a4cd9 CONTACTO: www.SonidoPro.com www.CrivasOficial.com Instagram @CrivasOficial Mail info@CrivasOficial.com

There are generations of kids who first became familiar with classical music through cartoons. What were considered the “golden years” of cartoon music, and why was classical music heavily used in cartoons during this time? How has classical music's role in cartoons changed throughout the decades? Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode133 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096 In-episode promo: Songtrust https://www.songtrust.com/ (use code ENHANCELIFE20 for 20% off)

Music was My First Love with Darryl Hurs - Episode 112 We are delighted to be speaking with a legend in the music industry today! Darryl Hurs is the Founder of Indie Week in Toronto. He is also the Managing Director of Downtown Global.  Darryl has created online conferences and worked with famous bands and musicians like U2, Madonna, Beyonce, Jay-Z, and Dave Matthews. Darryl is a fascinating individual! In this episode, he tells his story, talks about music, marketing, and engagement, and paints a vivid picture of the future of conferences.  We hope you enjoy listening to today's captivating conversation with Darryl Hurs! Bio: Darryl Hurs has a 25+ year history in the music business, including launching and running one of Canada's largest music showcase festivals and the conference, Indie Week. In the past two years, he founded three new online conferences: Music Pro Summit, indie101, and SCREENxSCREEN. Recently hired as the Managing Director for Downtown Music in Canada heading the Canadian operations for Fuga, Songtrust, Adrev, Found.ee, CD Baby, and Downtown Music Services. His past positions include design and branding/marketing for Live Nation as a freelancer (projects included a corporate rebrand and logo design, launching VIPNATION.com, work for U2, Nickelback, Madonna, Beyonce, Jay-Z, and Dave Matthews) retail buyer at HMV, and booker for one of Toronto's top live music venues (The Rivoli). Growing up in Canada Darryl grew up in Edmonton. He already knew in grade six that he wanted to get into the music business. The music industry in Canada was in Toronto, so he moved there when he was older, looking to do what he does now. Darryl's story Darryl wanted to be a musician, so he studied guitar at MacEwan University in Edmonton. Then he joined a band and moved with it from Edmonton to Toronto. When the band moved back to Edmonton, Darryl remained in Toronto. He knew nobody there, so he started networking, volunteering, hustling, playing, and auditioning. He began carving out his career when he became a booker for a venue, started managing bands, and did all the promotions and bookings for the bands he was in. Then he took a desktop publishing course and started earning a living doing graphics and design.  Live Nation He landed Live Nation as a client for eight or nine years, during which time he also launched VIPNATION.Com for them, rebranded the company, and did event marketing and advertising for several famous artists. He gained experience in marketing and promoting events and engaging fans. A promotion Darryl has been the country rep for CD Baby in Canada for three years. At the end of last year, he received a promotion and is now the Managing Director for Canada for Downtown Global. Covid When Covid hit, they lost everything and started doing conferencing online. Since then, they have launched another three successful other online music conferences. They now have several different projects on the go and are on par with where they were at the start of Covid. Indie Week Darryl created Indie Week because no festivals in Toronto focused on local artists. It was a music festival and also a music conference. Just before Covid, Indie Week in Toronto was doing about 240 bands from all around the world for four nights at 24 music venues in downtown Toronto. (Before that, they were doing the UK, but they stopped when Brexit happened.) In Indie Week, they got the industry out to look at the bands and vote for the band that deserved to play at Indie Week in the UK. Then, at Indie Week in the UK, they would pick a band to bring to Canada.  Comafest Since Covid, they have partnered with a Comafest in Brazil. They have taken an artist there every year and intend to take a few artists there in August 2022. Their objective is to build the international partnerships they started online, partner with other existing festivals, and take artists to those festivals. Online conferences They plan to continue their conference online. What set their conference apart from all other conferences happening during the Covid lockdown was that they were 110% invested in doing it online.  Positive feedback They have had a lot of praise and positive feedback for their online conferences! They could get higher-level speakers because they did not have to fly anyone anywhere.  The Indie Week online Music Conference They took the music conference and broke it down into different demographics to go online. Now, Screen X Screen, which is about music and tech, happens in February each year. Indie 101 is about education, and it happens in May. Music Pro Summit hosts high-level industry discussions and takes place in September. Indie Week is their hub, so they try to bring everything together in one place and focus on international connections. Many people have said that it is one of the best online conferences they have ever attended. The platform Their platform, Whova, is open to engagement and connecting with others. All their programs are recorded and people can talk online for three months. So any attendee can still go through the speaker and attendee list and message them after the conference. People are learning how to use the platform and taking advantage of it! A community Their free weekly sessions focus on being real. The sessions have helped grow their community because people love having the connection! Value People add value. Darryl believes that if you offer help first things will happen, and if you do something that engages with people, it will become valuable. So focus on people first, and monetization later. Online is working well They are planning to stay online because it is working well. They are also looking for ways to utilize what they have done online and do something in person when the time is right to do so. The goal The goal for Indie Week is that the participants make connections that turn into a real business. Online versus face-to-face People make a mistake when they try to recreate a face-to-face event online. Indie Week is an online experience, and the organizers are making the most of it! They are not trying to do what they would normally do in person.  Valuable experience They gained valuable experience from doing four online events in one year. They learned to utilize the positive aspects of the online experience and capitalize on them. AI Darryl believes that AI will make it possible for anything to happen musically in the future! Music marketing for artists Everyone in the world is online today, so artists need to plug into social marketing. That means using Facebook ads and Instagram ads and knowing how to use the data to locate their audience and the areas where people are tuning in the most. Then they need to start feeding different ads to that market to build a story. They can also use billboard ads, magazines, and online advertising programs like Found.ee. How can artists get known? Artists should focus on what they do and how to use tools to elevate that. They should focus on where their audience is and try to get as many fans as possible to engage. Engaging audiences at conferences People need to talk less about business and more about who they are and how they are doing. Digital is global, so there is value in considering how to elevate an in-person event to online. Being inclusive is also vital.    Connect with Eric On LinkedIn On Facebook On Instagram On Website   Connect with Darryl Hurs On LinkedIn Indie Week  

Si compones música, uno de los temas más importantes es tener tus canciones registradas en todas las entidades necesarias, para asegurarte de recibir todos los ingresos que te corresponden, además de proteger tu obra. Aquí revisaremos cuáles son los registros indispensables que debes de cubrir como autor, para proteger tus canciones como es debido, concretamente en México. 00:00 - Intro 02:28 Conceptos básicos: copyright y derecho de autor 03:51 Registros necesarios como autor 04:52 Sociedad autoral: SACM 06:45 Registro de obra: INDAUTOR 07:23 Registro editorial 10:20 Bonus: Pregunta final

Question: How can you build a rich creative life based on referrals and going out on a limb? Guest: Darryl Hurs, Owner/CEO, Indie Week; Managing Director, Downtown Canada; Director, Market Development, Canada, CD Baby; Educator, Harris Institute In this episode, Darryl Hurs shares his journey from studying music, working in retail at HMV, and being in a band to building a dynamic life in digital arts and music business through the reach of the people he has met and putting himself out there, even if he was uncomfortable.  His work of getting and giving work to others launched his own early work for Live Nation in launching VIPNATION.  His life ever since has all been about referrals and reaching out.  He built Indie Week from booking venues and creating discovery opportunities for new music.  He threads together stories of expanded risk-taking from one group of skills and people to bigger opportunities -- and how the referral is at the core of building his work in the world. BioDarryl Hurs has a 25+ year history in the music business including launching and running Indie Week (one of Canada's largest music showcase festivals and conferences). In the past two years, he has founded 3 new online conferences: Music Pro Summit, indie101, and SCREENxSCREEN.  Darryl recently has been hired as the Managing Director for Downtown Music in Canada heading the Canadian operations for FUGA, Songtrust, Adrev, Found.ee, and CD Baby. His past positions include design and branding/marketing for Live Nation as a freelancer (projects included a corporate rebrand and logo design, launching https://l.facebook.com/l.php?u=http%3A%2F%2FVIPNATION.com%2F%3Ffbclid%3DIwAR1JJoXtUf8frYUUJXLSFq4B192UiBfCCXIMQ_infOWA6ceUBHf09cMUFOY&h=AT3PF4tMKiuFYznYiaNVzLn54IXvbG67ZIMbfAqu8L2__QsrZpG4zoZ9Y0RkzAuA3PKQI4iyUi8i_53dhkuQ1laPfkJT18LHbBEzQrauDgpD86EXi9k9_3xpUnnUdhyqNxVnvLsQ2eIpS8jv7A (VIPNATION.com), work for U2, Nickelback, Madonna, Beyonce, Jay-Z and Dave Matthews), retail buyer at HMV, and booker for one of Toronto's top live music venues (The Rivoli). Linkshttps://www.indieweek.com/ (Indie Week) https://indie101.com/ (Indie 101) http://musicprosummit.com/ (Music Pro Summit) http://www.screenxscreen.com/ (Screen x Screen) https://www.downtownmusic.com/ (Downtown Music) Twitter: https://twitter.com/darrylhurs (DarrylHurs), https://twitter.com/indieweek (IndieWeek), https://twitter.com/downtownmusic (Downtown Music) Instagram: https://www.instagram.com/darryl_hurs/ (Darryl_Hurs), https://www.instagram.com/indieweek/ (Indie Week), https://www.instagram.com/downtownholdco/ (Downtown Music) Facebook: https://www.facebook.com/darryl.hurs (Darryl.Hurs), https://www.facebook.com/indieweek/ (Indie Week) https://www.linkedin.com/in/darrylhurs/ (LinkedIn) Our Mission Through our guests' stories, we aim to inspire current and future change agents who are creatives, entrepreneurs, researchers, or community leaders who are seeking inspiration and support around creative innovation — changing the ways we create, collaborate, engage, change lives, and build communities. Your Host: Gigi Johnson, EdD I run transformative programs, speak/moderate, invest, advise, and produce multimedia on creativity and technology.  I taught for 22 years at UCLA, where I ran the Center for Music Innovation and the podcast "Innovating Music," built four industry-connecting programs, and taught undergraduates, MBAs, and executives about disruption in creative industries.  Before UCLA, I financed media M&A at Bank of America for ten years. Connect with Us https://maremel.com/creative-innovators-podcast/ (Our Website) How to submit a Creative Innovator Guest: https://maremel.com/creative-innovators-podcast/guest-information/ (Information Page) Subscribe to our newsletter http://eepurl.com/bugPcj (here). Join our Patreon community https://www.patreon.com/creativeinnovators (here).

Question: How do you connect independent artists and music business in India as a young woman? Guest: Ritnika Nayan, Managing Director, Downtown India; Owner: Music Gets Me High Ritnika Nayan shares stories about her passion: helping indie artists succeed and make money through various avenues that they might have been neglecting.  She does that in her main role: Managing Director for Downtown India.  That passion also connects her early love of Broadway musicals to working on college concerts at Hofstra, music festivals in India, building her own company, wellness work, ukulele covers, and writing a book and teaching future music industry leaders in India.   Bio Ritnika Nayan is the Managing Director for Downtown India representing CD Baby, Fuga, Songtrust, Downtown Music Services, Found.ee, and Adrev in the country. She is also the owner of the company Music Gets Me High and the author of Indie 101 – The Ultimate Guide to the Independent Music Industry in India.  Throughout her 21 years of experience in the music industry, she has worked with artists like Maroon 5, Nickelback, Guns & Roses, Manu Chao, Nucleya, Advaita, Jalebee Cartel and also consulted on festivals like Sula Fest, Ziro festival of Music, Wonderflip fest and more. Ritnika has also set up India's first stand-alone Music Business Certification course at SACAC, Delhi, and conducts workshops on various aspects of the Industry under MGMH Academy. She is an avid speaker at conferences globally including TEDx and has won various awards including the contribution to the creative industry award by the University of Westminster, UK and the Young Music Entrepreneur runner-up award by the British council and more. Mentioned Links: https://ritnika.com/about-me/ (https://ritnika.com/about-me/) https://ritnika.com/ (https://ritnika.com/)  https://www.linkedin.com/in/ritnika/ (https://www.linkedin.com/in/ritnika/) https://twitter.com/ritnika (https://twitter.com/ritnika) https://www.facebook.com/ritnikan (https://www.facebook.com/ritnikan) MGMH YouTube: https://www.youtube.com/user/mgmhindia (https://www.youtube.com/user/mgmhindia) SAC Certificate in Music Business Management: https://www.sac.ac.in/certificate-course-music-business-management/ (https://www.sac.ac.in/certificate-course-music-business-management/)  Indie 101: The Ultimate Guide to the Independent Music Industry in India: https://www.amazon.com/Indie-101-Ultimate-Independent-Industry-ebook/dp/B074279X8M Our Mission Through our guests' stories, we aim to inspire current and future change agents who are creatives, entrepreneurs, researchers, or community leaders who are seeking inspiration and support around creative innovation — changing the ways we create, collaborate, engage, change lives, and build communities. Your Host: Gigi Johnson, EdD I run transformative programs, speak/moderate, invest, advise, and produce multimedia on creativity and technology.  I taught for 22 years at UCLA, where I ran the Center for Music Innovation and the podcast "Innovating Music," built four industry-connecting programs, and taught undergraduates, MBAs, and executives about disruption in creative industries.  Before UCLA, I financed media M&A at Bank of America for ten years. Connect with Us https://maremel.com/creative-innovators-podcast/ (Our Website) How to submit a Creative Innovator Guest: https://maremel.com/creative-innovators-podcast/guest-information/ (Information Page) Subscribe to our newsletter http://eepurl.com/bugPcj (here). Join our Patreon community https://www.patreon.com/creativeinnovators (here). Sponsored and Produced by the https://maremel.com/ (Maremel Institute)

Have you ever wondered how artists get paid for their work? When one song has multiple musicians, producers, etc, how are royalties paid?   Jeff is joined by Molly Neuman to help us understand how music publishing can be done to benefit creators. Molly is the President of Songtrust, the world's largest and most accessible global publishing administration service. Under Neuman's leadership, Songtrust has grown to represent more than 3 million copyrights for more than 350,000 writers in 145 countries, as well as tens of thousands of business clients including record labels, distributors, and boutique publishers.  She has seen all sides of the industry including creating and performing herself with her punk rock trio called Bratmobile. She's been working in digital music and streaming for nearly two decades and is passionate about empowering artists to understand how music publishing really works.   Big Takeaway: No matter what types of new elegant options emerge, lock blockchain, for example, artists will always face the challenge of getting adequately compensated for their work, and we are sure to see many sorts of examples brought to market to help make it easier.   Follow Molly on Twitter at https://twitter.com/mollydneuman  (https://twitter.com/mollydneuman ) Learn more at songtrust.com  Voices Behind The Music is presented by Feed Media Group and produced by Growth Network Podcasts 

Musicians Without Borders brings music's power for peacebuilding and social change to people and places affected by war, armed conflict, and displacement. Its founder, Laura Hassler, says, “Music is the ultimate expression of human connectivity.” Hear powerful personal stories of music literally opening borders! Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode129 Connect with us: Newsletter: https://mpetersonmusic.com/subscribe Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances Sponsorship information: https://mpetersonmusic.com/podcast/sponsor Leave us a review on Podchaser.com! https://www.podchaser.com/podcasts/enhance-life-with-music-909096 In-episode promo: Songtrust https://www.songtrust.com/ (use code ENHANCELIFE20 for 20% off)

Cuando hablamos del equipo de trabajo de un artista, suele venirnos a la mente esa imagen del artista caminando hablando por su celular y seguido de un nutrido grupo de gente. Pero la inmensa mayoría de músicos y artistas -especialmente los independientes- aprenden a trabajar con un equipo sumamente compacto. Te explico cuáles son los 7 roles básicos que un artista debe cubrir, y en qué momento hace sentido armar un equipo de trabajo en forma. 00:00 Intro Los 7 roles básicos a cubrir son: 02:30 #1 04:24 #2 05:38 #3 06:55 #4 08:35 #5 09:48 #6 11:17 #7

Para cobrar tus regalías autorales completas, es necesario tener todos los créditos ingresados en tus metadatos. Aquí hablaremos de los 5 pasos básicos del proceso. El problema del cobro incompleto de las regalías autorales en la mayoría de los casos no es problema ni de las plaformas ni de las distribuidoras, sellos o disqueras, sino de los mismos autores que no se han asegurado de registrar correctamente sus canciones. No cometas el error de dejar para mañana tus registros como autor, intérprete, productor o el rol que hayas desempeñado en canciones tuyas o de otros artistas.  00:00 Intro 00:50 El papel de los metadatos y visibilidad de los créditos autorales 5 pasos básicos para el registro autoral correcto: 03:04 1) Registro editorial (publishing) 04:33 2) Registro en la sociedad de autores 05:38 3) Oficializa participación autoral con involucrados  07:35 4) Registra la información de autores y productores en cada canción 10:44 5) Confirmar créditos cuando se publique 11:37 Cierre RECURSOS Y ENLACES:  

This week we feature Joe Conyers III is EVP, Global Head of NFT at Crypto.com. Founded in 2016, Crypto.com today serves over 10 million customers with the world's fastest growing crypto app, along with the Crypto.com Visa Card — the world's largest crypto card program — the Crypto.com Exchange and Crypto.com DeFi Wallet. Recently launched, Crypto.com NFT is the premier platform for collecting and trading NFTs, carefully curated from the worlds of art, design, entertainment and sports. Joe is the former Chief Strategy Officer of Downtown Music Holdings as well as Co-Founder of its subsidiary Songtrust. 

Today's episode ensures you haven't missed a single revenue stream we've discussed to-date! Host Emily White reviews all revenue streams you should be collecting on if you write, record / release, and play music live. If not, you're missing out on money! To dig in deeper, Emily then interviews musician, educator, and activist Steff Reed. Reed has gained national acclaim as a producer and songwriter having worked with the likes of Trey Songz, Jhene Aiko, Eric Roberson, Swizz Beatz, Kenny Lattimore and Gordon Chambers on songs that made it to the Billboard charts. As an Educator, Reed has taught thousands of youth between the ages 4-24 over the last 15 years and is a GRAMMY Music Educator Award nominee. Steff is also a proponent of Chapter 10 of the book this podcast is based on - Revenue Stream Checklist. In this chapter, Emily offers readers a free Google spreadsheet with the goal of musicians being able to track and project their music revenue Kind of like a “real” job, but in a good way. This also ensures that musician's aren't *missing* any revenue streams. As if there's a blank entry in the spreadsheet, you are missing out on revenue. When writing the book, Emily wondered if musicians would use this tool and find it helpful. Steff did just that and in this episode they review all previous revenue streams covered in the book and podcast and explore Steff's powerful career. You can check out the spreadsheet here to download and make your very own copy: https://bitly.com/AllRevStreams Follow Steff on Instagram here: @IAmSteffReed Happy listening! Today's episode is brought to you by Songtrust, the world's largest and most accessible music publishing administrator. Sign up now to join over 300,000 songwriters and collect your publishing royalties from more than 215 countries and territories. Use promo code SUSTAIN20 at signup for 20% off your Songtrust registration. Questions? Reach out to @EmWizzle on Twitter. Book this podcast was based on: https://www.collectiveentinc.com/book2. 10% off w/ code PODCAST Email List to be directly contacted when S2 & the book's next edition drops: https://bit.ly/SustainableList CREDITS: Creator, Executive Producer, Producer, & Host: Emily White Engineer: Nathan Cain Music: Matthew Wang Sponsorship: info@c-ent.com Graphics: Neelu Mohaghegh --- Send in a voice message: https://anchor.fm/sustainablemusiccareer/message Support this podcast: https://anchor.fm/sustainablemusiccareer/support

Draft with me this season here: https://play.underdogfantasy.com/p-ro.... Use promo code 'Ron' when you deposit for a $25 bonus- 2021 Draft Guide https://www.patreon.com/ronstewart?fa- Dynasty Rankings & Tiers https://www.patreon.com/ronstewart?fa- 1 on 1 Fantasy Advice https://www.patreon.com/ronstewart?fa- In season Rankings & Faab Advice https://www.patreon.com/ronstewart?fa- Exclusive Discord Chat https://www.patreon.com/ronstewart?fa- Subscriber Leagues https://www.patreon.com/ronstewart?faJoin our FREE Discord: (https://discord.gg/aSHhkHvwXA)Follow Me on Twitter Here: https://twitter.com/RonStewart_​​​​​​​Follow Me on Tik Tok: https://vm.tiktok.com/ZMeJbWgfv/​​​​​...I'm also looking for editing help this summer, email me here if interested: rstewartontwitch@gmail.comPodcast Here(Apple and Spotify):https://podcasts.apple.com/us/podcast......https://open.spotify.com/show/6iUFYKq​​​...Kerrane's Article: https://www.nbcsportsedge.com/edge/ar...Time Stamps:Intro (0:00)Pat Kerrane's Rookie WR Article (1:24)Terrace Marshall (3:30)Rondale Moore (6:34)Dyami Brown (10:13)Honorable Mentions (12:00)Music in this videoLearn moreListen ad-free with YouTube PremiumSongCatch Me OutsideArtistSki Mask the Slump GodLicensed to YouTube byUMG (on behalf of Victor/Republic Records); AMRA, Songtrust, CMRRA, PEDL, Warner Chappell, SOLAR Music Rights Management, LatinAutor - Warner Chappell, LatinAutorPerf, UMPI, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, Kobalt Music Publishing, LatinAutor, Wixen Music Publishing, Inc., and 14 Music Rights SocietiesSHOW LESSAllFantasy footballRelatedLiveRecently uploadedWatched

Melissa Garcia is a Founding Partner at Collective Entertainment and Host Emily White's business partner. Melissa also serves as the Chief Marketing Officer of #iVoted Festival. In this episode Melissa and Emily cover FOMO or “fear of missing out” in the age of Instagram and what to do about it, how to announce your release effectively, social media best practices, maximizing Spotify and Pandora, as well as modern PR whether you have a budget or not. Additionally Melissa and Emily break down radio promotion in the United States, music videos in the modern era and discuss brand partnerships. Here we go! Today's episode is brought to you by Songtrust, the world's largest and most accessible music publishing administrator. Sign up now to join over 300,000 songwriters and collect your publishing royalties from more than 215 countries and territories. Use promo code SUSTAIN20 at signup for 20% off your Songtrust registration. Follow Melissa Garcia on Instagram and Twitter. Questions? Reach out to @EmWizzle on Twitter Book this podcast was based on: https://www.collectiveentinc.com/book2. 10% off w/ code PODCAST Email List to be directly contacted when S2 & the book's next edition drops: https://bit.ly/SustainableList CREDITS: Creator, Executive Producer, Producer, & Host: Emily White Engineer: Nathan Cain Music: Matthew Wang Sponsorship: info@c-ent.com Graphics: Neelu Mohaghegh --- Send in a voice message: https://anchor.fm/sustainablemusiccareer/message Support this podcast: https://anchor.fm/sustainablemusiccareer/support

Music publishing has brought fear and confusion to many songwriters over the years. And Host Emily White understands why! There are horror stories of songwriters signing their publishing rights away for a nominal advance in the 20th century, only for their catalog to go on to make millions. But first, what *is* music publishing? And how do you collect on it? The good news is, music publishing is more simple than you might think, and the modern music industry offers ways to collect on that revenue while also retaining your rights. This episode explores all options for collecting on your music publishing revenue. Emily interviews Songtrust President Molly Neuman for a deeper dive into this topic, while also discussing Molly's incredible career. Happy listening! Questions? Reach out to @EmWizzle on Twitter. Book this podcast was based on: https://www.collectiveentinc.com/book2. 10% off w/ code PODCAST Email List to be directly contacted when S2 & the book's next edition drops: https://bit.ly/SustainableList CREDITS: Creator, Executive Producer, Producer, & Host: Emily White Engineer: Nathan Cain Music: Matthew Wang Sponsorship: info@c-ent.com Graphics: Neelu Mohaghegh --- Send in a voice message: https://anchor.fm/sustainablemusiccareer/message Support this podcast: https://anchor.fm/sustainablemusiccareer/support

Today's episode delves into every musician's favorite topic (hint: sarcasm) - business affairs. Business affairs is also known as the legalities and rights around the music you're creating, and is not limited to master recording ownership and songwriting splits. Host Emily White digs in to ensure you're collecting all revenue that's owed to you for your songwriting and music publishing. She also shares best practices on how to handle songwriting splits if you are collaborating with others on writing your music, as well as how to compensate producers, remixers, arrangers and more. In addition, Emily covers putting together a band or group agreement if you aren't a solo artist. All of this precedes Emily's exclusive interview with attorney Donald S. Passman, author of the iconic All You Need to Know About the Music Business, who has also represented artists such as Taylor Swift, Stevie Wonder, Adele, Kanye West, and more. Today's episode is brought to you by Songtrust, the world's largest and most accessible music publishing administrator. Sign up now to join over 300,000 songwriters and collect your publishing royalties from more than 215 countries and territories. Use promo code SUSTAIN20 at signup for 20% off your Songtrust registration. Questions? Reach out to @EmWizzle on Twitter. Book this podcast was based on: https://www.collectiveentinc.com/book2. 10% off w/ code PODCAST Email List to be directly contacted when S2 & the book's next edition drops: https://bit.ly/SustainableList CREDITS: Creator, Executive Producer, Producer, & Host: Emily White Engineer: Nathan Cain Music: Matthew Wang Sponsorship: info@c-ent.com Graphics: Neelu Mohaghegh --- Send in a voice message: https://anchor.fm/sustainablemusiccareer/message Support this podcast: https://anchor.fm/sustainablemusiccareer/support

Cash flow problems can come in all shapes and sizes. Cameron invites his long-time friend and business partner Troy (mix engineer and co-founder of Neologic Studios) to share their experiences in failed business endeavors, illustrate how their mindsets at the time led to those failures, and give five key tips for taking action on getting control of your cash flow. This podcast is brought to you by Music Producers Alliance®--an online community and professional development platform that provides learning resources, networking opportunities, and mentoring to music creators at all skill levels.Resource drops:Mint – free mobile and web app for managing personal finance.Quickbooks Self Employed – Paid / subscription app for mobile and web that can help you separate and manage both your personal and business finances.SongTrust – publishing, mechanical, and live performance royalty collection service for independent songwritersNAMM – Annual convention for music professionals.Favorite podcasts:Mind Your Business PodcastThe Six Figure Home Studio PodcastIntro Song: Starblast (instrumental) – Pollux & CastorOutro song: Xray Liota (instrumental) - Pollux & Castor

Today we break down things you need to know about Record deals, publishing deals, music law basics and what does owning your masters mean in 2021, plus more with music attorney Loren Wells (Trevor Daniel, Chuck Berry, Silverstein, Ricky Desktop) A. Background – 00:00 – 3:45 B. Agreements and collaboration – 3:45 – 6:59 C. Publishing administration – 6:59 – 8:41 D. Songtrust and admin deals – 8:42 – 14:12 E. Synch licensing – 14:12 – 18:44 F. Publishing deals in the streaming age – 18:44 – 23:10 G. What to look out for in publishing deals – 23:11 – 26:49 H. Master ownership and value – 26:49 – 36:26 I. Recording contracts and labels – 36:26 – 48:24 J. Outro – 48:24 – 50:55 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/zoetic-music-management/support

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“What is publishing?” “What is a publishing administrator?” “Am I missing out on money from royalties? How do I get it?” ----- Anna Bond is the Senior Director of Global Business Development at Songtrust, a full-service global publishing administrator built with the artist in mind. A seasoned industry professional, an Indie band geek at heart, and a longtime advocate for independent artists, I couldn't think of anyone better to talk to about music publishing in 2020. Companies like Songtrust are putting pressure on the labels by showing artists that they don't need to sell their soul in order to sell their music. Founded in 2011, the company started with the goal of becoming the easiest way to collect publishing royalties for anyone at any stage in their career. Today, they are the most popular music royalty collection solutions in the world. Music professionals of all kinds use Songtrust to simplify music rights management, including the administration of music publishing assets, performing rights, and digital licensing. Understanding how Songtrust operates as a publishing administrator through Anna's eyes is also an excellent framework for learning how publishing works in today's digital music landscape! #BlackLivesMatter, please support in any way you can. See HERE for a list of resources.

As we move into 2020, two things have become all the more apparent, artists have to view themselves as small businesses in order to survive, and income streams within the industry are increasingly fragmented. Thankfully, these trends have been tracked for several years in a row, and there are a multitude of services available to bands, artists, and songwriters to help them collect these fractionalized income streams so that they can keep their creative businesses afloat and their rights secure. Join us this week as we explore three such services, namely Jammber, AdRev, and Songtrust.

Learn everything an artist or copyright owner should know about digital royalties, learn how to make money in music, and hear the secrets to songwriting success from this week's episode of Project Freelance, with my special guest Nicholas Mishko, creator of 10and8Management. This week's topic is money; specifically, where is the money in music? Is there a way to actually make a living at making music? Yes. Yes, there is. This episode is the perfect introduction to the business side of the industry and I feel that it contains vital information for success as a musician. With knowledge gained from working for years in the industry before creating 10 and 8 management, Mishko shares some of the secret tips he's learned. Where do you get your royalties from? How do you get paid for streams? What are ASCAP, BMI, and SESAC? Did you know that you have royalties just waiting for you to learn about them? Well, Mishko answers all of these questions. We talk about brand partnerships and how to approach brands and build relationships with them, the way Mishko has done with companies like Spirit Airlines, Vans, various wineries, and even a candy company or two. Check out Sound Exchange who collects and distributes digital performance royalties on your behalf at http://soundexchange.com Estimate your song's publishing royalties at Songtrust.com Enjoy this episode of Project Freelance and let me know what you think of the podcast by leaving a review and (5 star) rating.   For classes/booking: http://justtheletterk.com/booking Read on to support the podcast! Get Socialistic with Mishko: http://10and8management.com/ http://instagram.com/10and8management Get Socialistic with me: PUBLIC FACEBOOK GROUP:  https://www.facebook.com/groups/213571199185683/learning_content/ http://Twitter.com/kenagonio 

Molly Neuman is the Global Head of Business Development at Songtrust and you may know her from her time ar Kickstarter, A2IM, Rhapsody, or eMusic. Molly is best known as a creator of the riot grrrl movement as Bratmobile's drummer and founding editor of the Girl Germs zine. On this episode, Portia and Molly discuss her career and more. Live from Indie-Con Australia 2018.

Data Strategy Manager Britnee Foreman of Downtown Music Publishing and Songtrust talks about the importance of Analytics, Data, Algorithms and other information that can help assist creators in making an income from their creative works. Find out what platforms are used most by specific groups and how you can strategize and make the most out of your internet presence. Understand how you can leverage this information to position yourself for more success. Learn about tools such as Soundcharts, Indify, Next Big Sound and more. If you would like to keep up with Britnee you can follow her on IG here, lil_missawesome. If you would like to learn more about Downtown Music Publishing and Songtrust visit their websites through the following links, https://www.dmpgroup.com/ and https://www.songtrust.com/.

Are you interested in the world of music licensing? This episodes guest Diana Mathangani, the Licensing and Administration Coordinator from Downtown Music Publishing and Songtrust is here to teach you all about it. Learn what the 3 main types of music licensing there are. Learn what a MFN deal is and why it's important. Learn what things to consider when entering a sync deal. All of this and more can be heard on this episode of Secrets Behind the Music Business. If you would like to get in contact with Diana please connect with her via Linkedin @ https://www.linkedin.com/in/diana-mathangani-03895768/ And if you would like to find out more about Downtown Music Publishing and Songtrust please visit the websites below. https://www.dmpgroup.com/ https://www.songtrust.com/

Are you interested in the world of music licensing? This episodes guest Diana Mathangani, the Licensing and Administration Coordinator from Downtown Music Publishing and Songtrust is here to teach you all about it. Learn what the 3 main types of music licensing there are. Learn what a MFN deal is and why it's important. Learn what things to consider when entering a sync deal. All of this and more can be heard on this episode of Secrets Behind the Music Business. If you would like to get in contact with Diana please connect with her via Linkedin @ https://www.linkedin.com/in/diana-mathangani-03895768/ And if you would like to find out more about Downtown Music Publishing and Songtrust please visit the websites below. https://www.dmpgroup.com/ https://www.songtrust.com/