Chinko Ekun was a musical gem that was left undiscovered for way too long. With his brand new song “Feeling”, he’ll be slipping into the spotlight and quickly becoming an artist you’ll be telling all your friends about. The record is done on an acoustic beat that will get you pumped up to take on whatever challenge is in front of you, whether it’s just getting up out of bed or going for that big promotion. Chinko’s lyrics are filled with the kind of witty puns you haven’t heard since the days of Biggie Smalls, bringing a fresh sense of creativity to the hip-hop genre. With this song, Chinko is throwing down the gauntlet and challenging other rappers to step up their game. He showcases his unique style while proving that he can rap circles around any other artists out there .
Royalties are the lifeblood of music publishing. They’re what you get paid for when someone uses your song in their project—like a movie, TV show, or commercial. But there’s more than one type of royalty involved in music publishing, and each one is based on the use of your music. In this post we’ll go over three types of royalties you should know about:
Mechanical royalties are paid to songwriters and music publishers when their songs are recorded and sold on a CD, vinyl record, or digital download. Mechanical royalties are shared with the artist who performed the song (if applicable), as well as record companies who invest in producing and distributing it.
Songwriter royalties are paid when you write your own music, while publisher royalties go to whoever owns the publishing company that controls your work (often your manager).
Performance royalties are paid to songwriters and publishers when their songs are played on the radio, in restaurants, bars, or other public places.
Performance royalties are collected by ASCAP (American Society of Composers Authors and Publishers) BMI (Broadcast Music Inc.) SESAC (Society Of European Stage Authors & Composers) SoundExchange.
Synchronization (or “blanket”) licenses are a type of music publishing royalty that allows an artist to be paid for their songs being used in the film, television shows, and commercials.
A synchronization license is typically bought by a music supervisor who works for the producer of a movie or TV show. They’ll listen to several songs before deciding which ones fit best with their project’s storyline and theme. When they select one song from an artist’s catalog and decide to use it in their project, they contact that artist’s publisher requesting permission to use their song(s) under license terms agreed upon beforehand by both parties (the publisher and artist).
Understanding the different types of royalties in music publishing is key to getting paid.
Royalty is the money or percent of the amount being earned from a published work, that is allotted to the publisher once a sale is made. The percentages will vary based upon several different factors, but suffice it to say, they are a very good way of making additional income, provided that you have established rights to your music through publishing.
I hope that in reading this article you have gained a better understanding of the many different types of royalties involved with music publishing. This is just a basic explanation but they are quite complex, and many things can occur when you are talking about publishing. I urge any individual who is considering entering the world of music publishing to seek out more information before doing any deals with publishers because it could cost you thousands later on down the road. Have fun writing your songs, and remember these important points!
Since we started back in 2006, we’ve always made artists our first priority. This new feature helps artists, managers, and indie labels track measurable success on TikTok, and we’re stoked to be able to offer it before anyone else.
“How people are consuming and interacting with music is evolving at such a rapid pace. As a distributor, it’s critical that we move quickly to get this data into the hands of our clients so they can maximize their reach. Our team is laser-focused on delivering value and we’re excited to be the first distributor to offer this level of insight into TikTok data,” says Symphonic VP of Product, Ali Lieberman.
This tool makes it easier for creators to understand the TikTok metrics that really matter and helps maximize the impact of their future TikTok marketing campaigns. Importantly, Symphonic’s proprietary TikTok analytics makes the distinction between views and creations. While view counts get a lot of attention, it is creations that actually drive royalties on the platform.
The new tool delivers comprehensive and easy-to-read metrics on how many videos have been created using an artist’s music as well as how many views, likes, comments, and shares the video generated.
Navigate to this feature by clicking on Analytics -> TikTok
The landing page provides a catalog-level view of performance across the entire catalog on a given date range that you can change. The page is broken down into the following cards:
Activity counts are displayed for Videos and Views. The video count is the metric that generates royalties. Hovering over any bar will show you the detail of a specific day.
Activity counts are displayed for each time the video using your music receives a Favorite, Comment, Share, and Like during the time period selected across your entire catalog.
Each section shows the top 5 entries sorted by Videos (created) in descending order (e.g., the Territory section shows the top 5 countries where videos were created on TikTok using your songs). Click the ‘View All’ button to see more data if available.
Source symphonic distribution
If you are trying to beat the Spotify shuffle algorithm, you need to remember their 30-second rule. Your song should grab the listener immediately and make them stay for more than 30 seconds. Otherwise, regardless of how many listeners initially listen to your song, it won’t count if they don’t pass that first 30 seconds. Also, remember that timing is everything on Spotify. For example, the first 12-24 hours after your track drops are crucial to your success or to gaining momentum.
One of the better ways to get the algorithm to notice you in this timeframe is by getting a pre-saves boost before your release date. Besides that, you have to pay attention to the competition, such as similar artists who may also be applying the same strategy. For example, you want to avoid dropping a track on the same day as famous artists. By avoiding this, you can naturally increase your chances of beating the algorithm. If you want to know more about how important connecting is, then feel free to read our blog post-ON
I’ve been a Spotify user for years, and I’m always learning new things about it. The best part of using Spotify is that it’s constantly improving thanks to its algorithms — and you never know what you might discover next! In this article, we’ll discuss how the Spotify algorithm works and how it affects your listening experience on the service. We’ll also explore how you can use your personalization algorithm to improve your Discover Weekly playlists.
The reason why it’s secret is that Spotify does not disclose the algorithm to the public, and it’s constantly changing. The Spotify team updates it whenever they find any flaws or bugs in their system, so you never know what will happen next with your music.
The algorithm is made up of many algorithms working together to deliver you the best possible listening experience. It uses machine learning to improve itself over time.
In addition to your listening habits and social media activity, the algorithm also considers how other users are interacting with your music.
Spotify uses all of these factors to create a personalized experience for each user. This means you might see one kind of playlist in one week and something completely different the next time you log on–but that’s okay! You can always find what you want on Spotify if you know where to look and how best to use their tools (like those featured here).
Spotify’s algorithm is what drives your Discover Weekly playlist.
Discover Weekly uses machine learning to recommend songs to you. It is a personalized playlist that is based on your listening habits, so it can help you find new artists and genres that you might like without having to spend hours searching for them.
There are two kinds of algorithms — personalization and discovery. Yours does both!
Personalization is about making your experience on Spotify better. It’s what makes the app feel like it knows you so that it can recommend music that fits your tastes and moods, or help you find new artists to love. Discovery is about finding new music that you’ll love: whether it’s an album by a band you’ve never heard before or an artist with whom you share friends on Facebook (or both).
The Spotify Algorithm is constantly changing. The way it works is that, as a creator, you want to make sure that your music is being heard by as many people as possible. This means uploading new songs and promoting them through social media channels like Instagram and Twitter. It also means getting your fans involved by sharing links with them so they can listen before they buy!
Once you have all of these things in place, then comes the hard part: waiting for results from the algorithm. While there are no guarantees when it comes to what will happen next (or even if), there are some things we know about how this process works at its core level–and we’d like to share those tips with our readers here today!
Independent musicians are always looking to establish a fan base and promote their original songs/tracks. To do this, they must first become familiar with branding and marketing.
This is because for the business to grow, establishing the specific areas within your business that include things such as colour schemes, logos, and consistent posts across social media platforms are important when making music your full-time career.
Another aspect of marketing your music that should be a top priority is to get yourself an established email list set up. This is owned by you and gives you direct contact with your fanbase so that you can keep your audience up-to-date with upcoming gigs or live performances, or when new music is going to be launched.
The end goal for musicians is to create a solid fan base that you (the musician) can keep in touch with regularly so that they (the fans) know what you’re up to.
This helps you as an artist because you can keep track of your fans by monitoring the lists. It also allows you to reach out to them easily. There are free resources online you can use to do this, but this can also become a lot of work on your part that you might not have the time (or expertise) to do.
Musicians tend to want to focus on their craft – making and performing music – and not on all that goes along with it.
With digital platforms in the online world becoming more of a means to distribute and get noticed, there are multiple opportunities with companies that will allow music submissions by independent music artists. Many of these can take the guesswork out of how to get your music shared and noticed, without you having to do much of the leg work.
Utilizing online music submission software is a way to get your music directly in the thick of things. This site, in particular, called Share Pro, will immediately allow your original music submission to be viewed within a 48-hour window and get back to you if they are going to share your music on their platforms, maybe even work with you or offer a record deal.
It’s a fast-track way of getting your music heard by professionals and can be helpful when you want some feedback to see if your music can truly make “the cut.”
If you’re confident that your music is mixed and mastered and ready for the big leagues, this is a great step for you to take as a musician – you never know who might be looking for your specific sound.
A music licensing company is ultimately one of the best platforms for you to submit your music to, and Marmoset is a great licensing company to start with that cares about giving indie artists new opportunities.
The music licensing process is taken care of by the company, so you don’t have to worry about all of the legalities, allowing you to be more focused on making the music rather than selling it.
The company not only accepts your original music and tracks, but they have a wide range of networks that have already utilized their services to find music. This means that you don’t have to do any networking or submitting directly to professionals, since the consensus is that many music supervisors, filmmakers, or other creatives don’t tend to “try out” new music if they are unfamiliar.
But, when a musician is accepted and part of a bigger library of tracks that creatives already go to find their perfect fit, your chances of being noticed (even on a larger platform) are much better. Plus, when your music is chosen there is an even bigger chance that you may be contacted from that point forward to produce more music for specific projects.
Believe it or not, many music-centred blogs and websites out there want your music to be promoted. One of the main reasons for this is that a lot of times with independent musicians you want your music to be heard in any capacity. There are also no royalty fees necessary as long as your music is copyrighted.
There are multiple music blogs like Indiepulse and Emerging Indie Bands blogs and articles where you can submit to have your music featured. They tend to prefer it to be unsigned and unknown, so newer and emerging music artists should consider this route.
This may now seem almost like a very old-school way of doing things, but this is always an option as a musician. You would simply send out demos of your music to multiple record labels through the mail and/or email.
This method can be a long, uphill battle, and many times your music probably won’t even be listened to (or might be listened to by a lowly intern who doesn’t push it up the chain of command).
One thing you should keep in mind if you submit directly to a record label is that many of them do not accept any unsolicited materials. This can mean two different things: the main one being that the record label themselves is not inviting you to send – which means, unless you were asked to send a demo, don’t do it.
The second thing is almost the same as the first – you have to have had some sort of business association with the record label for them to accept your music submission.
Whether you decide to submit your music is up to you. Still, the insight you gain here points to the idea that as an independent musician, you need to be sure to network and establish relations within the industry as much as possible. There are some easier and more difficult ways to do so, depending on how hard you want to work for it.
After creating the music you’re wanting to share with the public, your next priority should be marketing that music and gaining more visibility. Once you can start establishing relations with others in the business and they start to approach you for new music demos, then you have a shot at an actual record label.
Music streaming giant Spotify is seemingly everywhere. But they are not the only ones expanding their activities in Africa, global music labels are increasingly looking to the continent for new artists and market leaders too. Some of these include Mavins Global, Empire, Universal Music Group, Sony Music Entertainment, Concord Records, and Roc Nation with the latter helping Nigerian artists wizkid, Burna boy, Davido and other fast-rising artists break into the US market and reach
In the past few years, Africa has emerged as a significant market for music labels.
Fueled by a growing young-people population, great musical talent, great culture, and more streaming opportunities, Africa’s music industry is booming. And the world’s major music labels are taking notice.
1. The continent’s population is young and growing fast: According to the UN, Africa has one of the youngest populations in the world. This means that there are plenty of potential consumers who can be reached through marketing campaigns targeting young people. In addition, many African countries have high birth rates which will result in more consumers entering the market over time. For instance, Nigeria was ranked as having one of the fastest-growing populations globally due to its high fertility rate (4) and increasing life expectancy at birth (5). Furthermore, recent data shows that Nigeria will have more than 200 million people by 2050 (6).
The global music industry has been undergoing some major changes recently with streaming becoming increasingly popular among consumers around the world — especially in Africa a continent Fueled by a rowing young-people population, great musical talent, great culture, and more streaming opportunities, Africa’s music industry is booming.
In 2017, Forbes reported that Nigeria was the world’s fastest-growing market for recorded music — up 20% from 2016 — and it’s not alone.
The African continent is a hotbed of musical activity. On top of the fact that it’s home to some of the world’s most well-known musicians (such as Fela Kuti, Angelique Kidjo, Youssou N’Dour) and of course the emerging wizkid, davido, Burna boy and the likes. new artists are emerging every day.
The biggest reason why major labels are so interested in Africa right now? The growth potential is huge. A study by MIDiA Research predicts that digital music revenues will reach US$2.36bn in 2022 in sub-Saharan Africa alone — representing an increase of 40% from 2018.
I hope this helps you to put your best foot forward when sending your music industry professionals a demo of your work. There is a lot of information to be gathered, but it is there for a reason if you follow the simple steps outlined in this article, you are more likely to make the strongest impression on any A&R rep that happens across your demos. Who knows? Maybe it will lead to the break you’ve been working for!
Your song is your work of art. You’ll want to share it with the right people. Normally done over email and social sites, it’s not always easy to network; you don’t know who’s listening and you certainly need A&R reps contact information. I will help you set the scene for success.
Building an audience for your music isn’t easy, but it can be done. In this post, we’ll explore how to build a fanbase from scratch. We’ll go over the different types of fans you want as well as how to get them, and then we’ll talk about strategies for success with each type.
When it comes to building a fanbase from scratch, many aspiring musicians have the same question: how do I get people to follow me?
To answer this question, we’ll look at some of the most common mistakes that new artists make when trying to reach out beyond their initial social circles. We’ll also examine what kinds of things you should be doing and saying on your social media channels to gain followers and fans who are genuinely interested in what you have to offer. If you’re looking for more detail about creating an emotional connection with your audience at large, check out our article What Is Fan Engagement? How To Build A Fanbase From Scratch.
There are three types of fans that you can build.
Don’t take anyone for granted. You may be the most important person to yourself, but don’t ignore the people around you.
Don’t just focus on your fans. Focus on your music, brand and business too!
Don’t just focus on your music. Focus on social media and email marketing too!
One of the best ways to build a fanbase is by being yourself. When you’re building your brand, it’s important that people can see who you are and what makes you unique. To do this, there are some steps that you need to take:
Social media is a great way to engage with your fan base, but you shouldn’t post constantly. Posting consistently is the key to building a fanbase.
When you start your podcast, you’ll likely have a goal in mind for the size of your audience. Maybe it’s 100 downloads per episode or 1,000 listeners on any given day. Whatever the number is, don’t get too hung up on it:
It’s important to realize that numbers aren’t everything when it comes to building an audience. The quality and engagement of your listeners are much more important than the sheer quantity of them. If two people follow you and engage with each episode then they’re going to be more valuable than 100 people who just listen passively without commenting or interacting in any way with what they hear (or worse still don’t even download episodes!).
Live shows are a great way to build an emotional connection with your fans, and they’re also a great way to build trust. Your fans will know you’re not just making stuff up in the studio or on the Internet they can see for themselves that you’re real and that what you do is worth listening to.
Live shows also give people a chance to connect with you in person, which can lead them down the path of becoming your biggest fan (and perhaps even becoming your friend). If someone enjoys meeting up with other people who like something they like, then they’ll probably want more opportunities like this one.
If all else fails, ask them if they’d be willing to help promote your show! This works especially well if there’s something fun or interesting going on at the venue where it’s happening (like free food).
Collaborating with other artists is a great way to build your fanbase. When you collaborate with other artists, you can gain exposure, receive feedback on your work, make new friends and learn new skills.
I’ve collaborated with many people over the years. Some of my favourite collaborations were when I was in college and made a music video for my song “Life Is Good” with the band The Rival Rockets in 2011. This helped me gain exposure because it was shared on social media by more than 100 people who were fans of both bands at the time. It also helped me receive feedback on my work because we had a few rehearsals before filming so that we could make sure everything worked out well during filming as well as post-production editing work afterwards.”
Giveaways are a great way to build your fanbase! But you have to do it right.
First, it should be fun. People love free stuff, but they don’t want something lame—they want something cool. When you’re giving away a prize that’s only worth $5 or even $1,000 (yes, we’ve seen artists do this), the contest has to be interesting enough that people will pay attention and share with friends so they can win too! If you can tie the game into some aspect of what you’re doing as an artist or brand then even better: if someone likes your music they’ll probably like anything else related to it too!
You should also make sure it’s something relevant—don’t just throw anything out there because “it could work.” Make sure whatever prizes/giveaways are available to fit well with what your fans want and love about themselves because then when people see them they’ll feel good about themselves too which means more fans joining up with us later down the line when our careers take off thanks again, guys!!
Building a fanbase from scratch can take time, so be patient and persistent. Don’t get discouraged by the slow progress at first, because it’s normal to feel like you’re not making much progress when you’re just starting. As long as you continue working hard and stay consistent with what you do, then eventually your efforts will pay off!
A song is a simple composition of music, words and melody. It usually has four elements:
The melody of a song is what makes you remember it. It’s the tune, the whistling part that everyone can sing along to. The melody is usually composed by the composer and then performed by either a singer or an instrumentalist (like a piano player). The melody is written in the key of your song which means it’s written to fit in with all of the other chords you’ve chosen for your chord progression.
As you can see, the process of earning royalties involves paying the author, composer, and publisher. In addition, it’s possible to earn royalties based on your ownership of intellectual property. Your ownership of a copyright or composition could mean receiving royalties from digital downloads and streams on platforms such as Spotify or Apple Music. However, if your song is used in TV commercials or movies then there might be additional opportunities for earning money in this way as well.
As a producer who works with other songwriters, I am often asked how much money is made from royalties and where it goes when someone writes songs together. If you’re interested in learning more about how royalty splits work between writers/producers let’s take a look at some examples:
In Nigeria, Royalties are defined as money paid to an author, composer or publisher for each copy of a work sold or a license to publish or broadcast it. Royalties are usually paid by the copyright owner. For example, the songwriter (the writer) might receive a royalty from the record label that publishes his/her songs and distributes them to music stores and radio stations. The publisher is responsible for paying royalties on behalf of their artists who are not yet famous enough to sell their records but whose songwriting talents have been recognized by publishers who wish to profit from these talents by publishing their works instead of allowing them free access in similar situations where they would have had no choice but accept whatever money was offered in exchange for letting others use their songs freely without being compensated fairly
Copyrights are exclusive rights under which owners can utilize their creative works in different ways. They are protected by law, granted for a limited time, and can be sold or transferred.
The two main types of copyrights are sound recording and composition. The sound recording copyright refers to the actual recording itself (i.e., any sounds that you’ve captured on tape or digital media). At the same time, a composition is an actual song itself (lyrics, notes, etc). Each type of copyright has its own set of rules regarding how they should be split up among those involved with creating it; however, several factors can affect how royalties will be distributed when it comes down to sharing credits as well as money earned off sales.
As the owner of a copyright, you may choose to sell or license some of your rights to others for a specific period. The author might grant a publisher the right to publish their book in exchange for royalties, or an artist might grant their record label the right to produce and distribute their record in exchange for royalties. This is called “transferring” rights because those who obtain them are now considered another party with certain privileges and responsibilities that include payment of royalties (usually an ongoing percentage). Copyright owners can also decide not to transfer all their rights when they license something—they may keep some but not others to retain control over how it’s used as well as its quality and integrity.
The majority of songwriters make money from songwriting royalties (50%) while producers typically earn most if not all of their income from producing records (90%). It’s worth considering if you want someone else taking charge while letting them get paid instead.
The creator of a song holds two copyrights for that song; one for the words and music (the composition), and one for the recorded version (the sound recording)
The composer and performer are both entitled to a royalty payment based on their contribution to the overall work, but they are not entitled to any portion of each other’s royalties. The writer is only entitled to his or her share of publishing income.
When it comes to songwriting, there are many different types of royalties. The first type is called mechanical royalties and covers the use of music on CDs and in other forms of sound recordings. For a songwriter or composer to receive these royalties, they must be registered with one or more performing rights organizations (PROs) in their territory before the work is published.
There are also performance royalties which cover any public performances of your work through radio play or TV broadcasting that don’t fall into the category of mechanical rights licensing such as live concerts, festivals etc…
How are sound recording royalties split into a song “Producer Points” is a term you’ll come across if you are researching how your royalties are split. They are the percentage of the royalties the producer of your song is going to get from your sound recording royalties. It’s usually major record deals that work with this point system. If you are an indie musician, you probably won’t need to worry about that. Producers typically get anything from 3 to 7 Producer Points. That means that if the artist gets, for example, 20% of the royalties in a record deal and the producer gets 5 points, the producer is getting 25% percent of the artist’s share of the royalties. That’s because 5 points equal 25% of the artist’s original 20%. The label still keeps 80%. For indie recordings, the system is usually based on the percentage of the net royalties, not on producer points. In an indie deal, the producer may get, for example, 20% or 25% of the artist’s net royalties. The result is not that different from the point system, where 5 producer points out of the artist’s 20 points equals 25%. The producer may also get an upfront fee for their recording services. This fee is negotiable and can vary depending on the producer’s percentage of the net royalties. If you have money for a larger upfront fee, say $2000, you may negotiate a smaller percentage of the net royalties for your producer. The same works if you don’t have that much money for the fee. You can negotiate a smaller upfront fee and a larger percentage of your net royalties to your producer.
If you are an independent artist and you already know what are royalties in music, it’s time that you understand how are royalties split on a song. There are different categories of royalties in music, like Performance Royalties, Mechanical Royalties, and Sync Royalties. They can either be reserved for the songwriters and the publishers, or for the artists that played on the master and producer. In some cases, the same royalties go to both parties. If you are the only songwriter of your music and you record and produce it on your own, the royalties are all yours! You own 100% of it. However, if there are more people involved in the making of your art, you should probably know how your royalties will be split.
If you’re a music artist who wants to use YouTube to share your work, chances are you’re already familiar with copyright. However, if you’ve ever wondered how YouTube’s Content ID system works or how it affects artists’ rights and responsibilities, this quick guide will get you up to speed.
Content ID is a system that allows copyright holders to find videos that infringe on their content and either block them or allow ads on them.
How Content ID works:
If you dispute a claim, you can either provide evidence that the content in question isn’t yours or argue that it is fair use. If your video doesn’t have any audio or visual elements from the original work, for example, and therefore cannot infringe on the rights holder’s copyright, then this will be easy to prove. However, if there are elements from another creator’s work in your video that aren’t covered by fair use laws
Once you have your Content ID account and have uploaded a reference file for your work, it’s time to make sure that YouTube doesn’t mistakenly identify other people’s content as yours.
The YouTube Content ID system scans uploaded videos and compares the content to reference files in Content ID before they’re available to view online. The system is automated, so it can identify copyrighted material even if it’s been altered or manipulated after an original was created by a third party. The fingerprinting system identifies copyrighted material and then matches it against reference files owned by rights holders.
Here are some tips for music artists who want to use copyrighted material in their videos:
You may be surprised to learn that YouTube does not require you to have permission for using someone else’s music in your videos. However, the video hosting service does require you to have permission from the rights holder if you plan on monetizing your video or being paid directly by a third party. If you don’t have this permission, you could easily run afoul of copyright law and get hit with a copyright strike.
You may think this only applies if you’re making money off of your content on YouTube, but it applies even if your channel is just an amateur hobbyist project. If someone has posted their music on YouTube and doesn’t want anyone else using it without getting paid (or at all), then they can report it as a violation and potentially get their music removed from your channel!
If you do want to use someone else’s work, make sure that they are permitting you to do so.
The Content ID system is how YouTube allows copyright holders (like record labels and movie studios) to find videos that infringe on their content and either block them or allow ads on them. When a copyright holder uploads a claim with a reference file of the work they want to be protected, YouTube automatically scans all uploads for matches based on audio and video fingerprinting technology, which compares your video against others in its database looking for similarities in the audio or visual elements of those other videos.
If the Content ID matches your video against other uploaded files that have been submitted by copyright holders as reference files, then one of three things will happen:
If you’ve received a copyright claim from your video and you believe that your use of copyrighted material is permissible under fair use, try filing a dispute here: https://www.youtube.com/yt/copyright/fair-use.html#
When you file a dispute, YouTube will review the content that was claimed on your video and make a decision based on several factors, including:
Much of the information we’ve discussed in this article should be common sense. There are a few key points that we want you to remember:
Never download videos from unauthorized sources and repost them on YouTube or any other platform. This is a copyright infringement and will get you into trouble (not to mention it can hurt your channel).
Make sure that you have permission from the rights holder before using any copyrighted material in your video. If there’s any doubt about this, contact an attorney for advice on how best to proceed with your project.