What with all these 'Golden Hour' features on local radio at 9am every day, I was wondering do all the artists of these obscure records they play get royalties?
I suppose to expand upon that how are all radio royalties calculated and paid?
Yea. Music is better than TV in that you will always get royalties for your songs being used in whatever, but the longer a show has reruns on tv, the checks get smaller and smaller until it's pretty much nothing even though the show is still played.
There was a documentary on BBC 4 on DEC 28th about the top 10 highest earning tracks. went into a lot of detail about how royalties are paid. http://www.bbc.co.uk/programmes/b01pjrt5
So they get paid for being played on the radio and for Youtube views yet musicians claim they don't make enough money due to illegal downloading?!
Yeah. Sales are a miniscule proportion of what artists earn now.
That's why artists release urban songs. For example, Pour it Up by Rihanna, it probably won't do well in the charts, but it'll make her record label a LOT of money from airplay on urban radio and royalties from everytime it gets played in a club (which will be absolutely loads, especially in the summer).
Wait..they get royalties if it's played in a shop?? So the shops have to pay the artists to play their records???? This must means someone has to keep tabs on all the songs played in the shop through out the day and then pay the record labels or whatever. Good golly....
Wait..they get royalties if it's played in a shop?? So the shops have to pay the artists to play their records???? This must means someone has to keep tabs on all the songs played in the shop through out the day and then pay the record labels or whatever. Good golly....
The shops don't keep track of what is played (nor does anyone else) Instead they are supposed to buy a licence from the performing rights society, and the PRS divide money up amongst it's members which includes the record labels, the composers, and the musicians.
One of the best royalties contracts ever though was the deal Channel 4 signed with the David Dundas. He got £3.50 every time the Ch4 ident 'fourscore' was played, it netted him about £1000 a week, for the 10 years it was used. Not bad for 4 notes!
Wait..they get royalties if it's played in a shop?? So the shops have to pay the artists to play their records???? This must means someone has to keep tabs on all the songs played in the shop through out the day and then pay the record labels or whatever. Good golly....
Yes, that's right. Any public place where music is paid they're supposed to pay royalties (although a lot of places try and do it illegally). All this seems like so much effort though lol!
I think a lot of big chain shops, they have a system similar to radio, so all the shops across the country in that chain will be paying the same song a the same time. So that might help them keep track. I'm not sure if it's for that reason or something else though.
A song being used as a theme tune for a TV show must make loads of money I imagine. Especially if it's something like Friends, which is a huge program and repeated multiple times per day all over the world for years and years.
it'll make her record label a LOT of money from airplay
This part of what you said is correct.Royalties get payed to the Labels first, unless the artist self-distributes.It costs the record labels alot of money to get their artist's played on the radio in the first place though, very often :rolleyes: .I'm not talking about payola directly, although effectively it is.
The majority of artists hardly see any part of this money, especially if they haven't yet recouped the Labels cost's.Songwriter's & producers tend to receive more from royalties as they don't have the promotion, distribution etc. costs & 'other costs ' to recoupe.Labels are netoriuosly very slow in paying out even when they are due.Many artist's have taken their own labels to court to get the royalties that were due to them over many years.
It's not as simple as that. Artists become members of organisations such as PPL which handle the licenses for their music. These organisations license their music and then keep track of how often their music gets played by regularly 'surveying' radio stations, tv channels etc. They then collect a fee from the licensees, take a cut, deduct tax and only then do the artists get their money. The amount they get depends on the type of deal you have with their record label, whether they were involved in the writing and production of the song etc. It gets split in so many that one play alone isn't worth much at all.
This part of what you said is correct.Royalties get payed to the Labels first, unless the artist self-distributes.It costs the record labels alot of money to get their artist's played on the radio in the first place though, very often :rolleyes: .I'm not talking about payola directly, although effectively it is.
The majority of artists hardly see any part of this money, especially if they haven't yet recouped the Labels cost's.Songwriter's & producers tend to receive more from royalties as they don't have the promotion, distribution etc. costs & 'other costs ' to recoupe.Labels are netoriuosly very slow in paying out even when they are due.Many artist's have taken their own labels to court to get the royalties that were due to them over many years.
Yeah. Payola is illegal in the UK (at least straight up payola), but in some other countries it's legal. For example in the US it's legal to get "radio deals" where you can pay radio stations to play a song every hour for a day (for example). Recently they did it wish Justin Timberlake's new tune, they payed top 40, rhythmic, urban and adult contemporary format stations to play Justin's song once per hour on its release date. You're allowed to do that just as long as it's made public (i.e. they can't do it and keep it secret).
So yeah, I think when payola is used like in Justin Timberlake's case, the record label probably lose money.
A lump sum is paid to PRS ahead of broadcast. Thats true of RSL anyway, presumably CR pay a flat fee every so often, like a subscription.
This is also the reason Christmas songs are a nice litte earner!
Yes, Noddy Holder has said he always looks forward to the cheque which arrives each spring, covering plays of Merry Christmas Everybody during the festive season.
Correct. Although some bands (im sure Coldplay are one) share all the royalties.
I think it's good that some bands share all the royalties. I bet it can be awkward in some of those bands where one member is really rich, and the rest not so much.
It also depends on who you mean, in terms of getting the money. One famous example I can think of (with a name most people might know)
Craig David on the song rewind. It was a big hit, but he didnt get much from it. He got an upfront fee for his parts, with no rights to royalties. Its often a choice for anyone featured on songs, take the royalties or a up front fee. Take the fee is a way to assure you get paid, as royalties could end up as nothing.
Its the same with a "band" or "artist". Songwriters often get more money than just members, and the record label has its share to take first. Sony BMG was famous for a while for taking nearly 90% of royalties from non-cd sales media. Now if your album doesnt sell well (take the theme tune from Friends, the song made HUGE amounts of money, but the bands made very little in album sales).
Factor in as well, lots of other outlets and it gets VERY complex to find out who gets what, and some record companies only take from CD sales and the band has a different deal with a media company relating to promotion, which radio plays would come under.
The most common way for a band to earn the most money though is merchandise and touring.
Then of course there is the strange happenings when a band is given lots of freedom but oddly makes it into the charts when no one thought they would. Cannibal Corpse, an old school death metal band from the 80s (still going now) signed a contract which meant the record company would earn most of the money from touring, thinking they would never really sell many CDs. Yet a few times their albums have charted in the US, which makes no sense to anyone really.
So in short, someone earns from radio play, and the rates are mostly good if your track is played a lot. Whom earns what is pretty much unknown as that's private contracts set up with those involved.
(also to note, the BBC has a special agreement with most labels in which they don't pay anything for tracks used in visual media (tv), and have a lower rate on the radio side of things. That just covers audio though, video footage is different.)
One of the best royalties contracts ever though was the deal Channel 4 signed with the David Dundas. He got £3.50 every time the Ch4 ident 'fourscore' was played, it netted him about £1000 a week, for the 10 years it was used. Not bad for 4 notes!
The guy who wrote the Countdown musics done ok for hinself too. That gets played about 5 times per show, plus beginning and end theme, practically every day for the past 30 years!
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If a song does terrible in the charts, but is big in clubs and on radio, you still make lots of money from it.
Its the songwriter thats gets the vast majority, the singers/groups only get a little performance royalty
http://www.bbc.co.uk/programmes/b01pjrt5
Yeah. Sales are a miniscule proportion of what artists earn now.
That's why artists release urban songs. For example, Pour it Up by Rihanna, it probably won't do well in the charts, but it'll make her record label a LOT of money from airplay on urban radio and royalties from everytime it gets played in a club (which will be absolutely loads, especially in the summer).
Yes I read that and he got around £80k a year in royalties for that song
The shops don't keep track of what is played (nor does anyone else) Instead they are supposed to buy a licence from the performing rights society, and the PRS divide money up amongst it's members which includes the record labels, the composers, and the musicians.
One of the best royalties contracts ever though was the deal Channel 4 signed with the David Dundas. He got £3.50 every time the Ch4 ident 'fourscore' was played, it netted him about £1000 a week, for the 10 years it was used. Not bad for 4 notes!
Yes, that's right. Any public place where music is paid they're supposed to pay royalties (although a lot of places try and do it illegally). All this seems like so much effort though lol!
I think a lot of big chain shops, they have a system similar to radio, so all the shops across the country in that chain will be paying the same song a the same time. So that might help them keep track. I'm not sure if it's for that reason or something else though.
A song being used as a theme tune for a TV show must make loads of money I imagine. Especially if it's something like Friends, which is a huge program and repeated multiple times per day all over the world for years and years.
This part of what you said is correct.Royalties get payed to the Labels first, unless the artist self-distributes.It costs the record labels alot of money to get their artist's played on the radio in the first place though, very often
The majority of artists hardly see any part of this money, especially if they haven't yet recouped the Labels cost's.Songwriter's & producers tend to receive more from royalties as they don't have the promotion, distribution etc. costs & 'other costs
Yeah. Payola is illegal in the UK (at least straight up payola), but in some other countries it's legal. For example in the US it's legal to get "radio deals" where you can pay radio stations to play a song every hour for a day (for example). Recently they did it wish Justin Timberlake's new tune, they payed top 40, rhythmic, urban and adult contemporary format stations to play Justin's song once per hour on its release date. You're allowed to do that just as long as it's made public (i.e. they can't do it and keep it secret).
So yeah, I think when payola is used like in Justin Timberlake's case, the record label probably lose money.
A lump sum is paid to PRS ahead of broadcast. Thats true of RSL anyway, presumably CR pay a flat fee every so often, like a subscription.
This is also the reason Christmas songs are a nice litte earner!
Correct. Although some bands (im sure Coldplay are one) share all the royalties.
Yes, Noddy Holder has said he always looks forward to the cheque which arrives each spring, covering plays of Merry Christmas Everybody during the festive season.
I think it's good that some bands share all the royalties. I bet it can be awkward in some of those bands where one member is really rich, and the rest not so much.
Craig David on the song rewind. It was a big hit, but he didnt get much from it. He got an upfront fee for his parts, with no rights to royalties. Its often a choice for anyone featured on songs, take the royalties or a up front fee. Take the fee is a way to assure you get paid, as royalties could end up as nothing.
Its the same with a "band" or "artist". Songwriters often get more money than just members, and the record label has its share to take first. Sony BMG was famous for a while for taking nearly 90% of royalties from non-cd sales media. Now if your album doesnt sell well (take the theme tune from Friends, the song made HUGE amounts of money, but the bands made very little in album sales).
Factor in as well, lots of other outlets and it gets VERY complex to find out who gets what, and some record companies only take from CD sales and the band has a different deal with a media company relating to promotion, which radio plays would come under.
The most common way for a band to earn the most money though is merchandise and touring.
Then of course there is the strange happenings when a band is given lots of freedom but oddly makes it into the charts when no one thought they would. Cannibal Corpse, an old school death metal band from the 80s (still going now) signed a contract which meant the record company would earn most of the money from touring, thinking they would never really sell many CDs. Yet a few times their albums have charted in the US, which makes no sense to anyone really.
So in short, someone earns from radio play, and the rates are mostly good if your track is played a lot. Whom earns what is pretty much unknown as that's private contracts set up with those involved.
(also to note, the BBC has a special agreement with most labels in which they don't pay anything for tracks used in visual media (tv), and have a lower rate on the radio side of things. That just covers audio though, video footage is different.)
I think Noddy Holder gets more than that for his xmas song
U2 share the royalties four ways even though Bono and The Edge do most of the writing.
The guy who wrote the Countdown musics done ok for hinself too. That gets played about 5 times per show, plus beginning and end theme, practically every day for the past 30 years!