- This topic has 18 replies, 11 voices, and was last updated 11 months, 4 weeks ago by .
-
Posts
-
Last qtr was close to the best ever while this qtr was about half that. Last qtr was more of a shock than this one though.
My results were similar to Pat. Overall this year my payments were up, but not so with 2nd Qtr 2023, which was very disappointing. I especially noticed a drop in international royalties. I’m starting to wonder if there’s a pattern that my international royalties will surge 1 quarter, followed by a big drop the next, almost as if the internationals are only flowing every 6 months instead of every quarter … I know that’s probably not the case. My international royalties aren’t dependent on any 1 show or region, they trickle in from all over, which is why the amount of variation seems odd … but I’m not planning to research it, I’ll just move on to new music.
my best one yet, really happy about it.
USA was okay-ish, but Europe especially Germany & France were insane this time.
UK and Sweden really nice too.Up slightly over last quarter which was quite good – although neither was amazing.
– International remains very strong – and has been for several years for me.
– US TV remains fairly weak, and seemingly weakening overall – although there are a few head scratching exceptions.
– Streaming (Internet Audiovisual) continues to strengthen. It’s almost up to 35-40% of US Cable TV/Network TV at this point.
– 400+ pages on the statement for reference.
The biggest takeaway that continues – with internet AUDIO (not visual) – is that someone who does not own my masters (they have re-titled publishing) is making a BUTT load of money off my close to 2M audio streams, while as writer, I’m making less than $100. As the artist / writer / record company (master rights owner) I could up my income significantly if I could figure out who and how someone who does not own the master rights is cashing in on my $0.004 per stream….which is netting someone close to five figures.
Decent and similar to last Q. Not really confident about any trends. My streaming percentage is similar to LAwriter.
Best statement ever. International royalties were almost double than U.S.
My best statement ever. Jumped 2980% from the previous quarter, partly because of the low base (2 figures), but also heavily skewed by one track which received $1,557.40 from BUMA (thanks Netherlands!), and two tracks which earned $165 from Netflix; the rest were pretty meh.
I still havent gotten mine yet
tell the company who is streaming your
content that ypu are the original author
of it. have proof to back this up.
publish your material with CONTENT ID in place to all platforms. when you have a query then show the company
your proof.
this will get the ball moving in your favour.Had a great statement. One issue of concern moving forward is the SOUNDMOUSE variable. I received a nice 4 figure royalty from GEMA/ Germany for a track that I personally placed and negotiated the license for, but the title was credited to a non exclusive publisher for the back end prize. This resulted in the NE publisher getting $3500 as opposed to me collecting 7K (I did collect $3500 for the ad as writer) . Not sure I can do anything about this but this is now another battle some of us will have to deal with. Big soundmouse data enters the ring.
When I get my music into big brand TV ads, I want all the back end, especially if I personally negotiate the license. SOUNDMOUSE detection data is getting distributed to PRO’s and I do think the PRO’s are relying on that data more and more. This will just be another one of those issues we all need to deal with, and this fingerprinting warning has been in play for 13 years now.
I did not upload this track into soundmouse, but I am fairly confident my NE publisher did. Maybe it’s time for me to do a major SOUNDMOUSE upload effort. It’s not easy getting the music on that service, but clearly it needs to be done. Anyone have any thoughts on this…..?
My thoughts on foreign pro’s based on 15 years of data:
Netherlands and Germany BUMA and GEMA pay very well, UK, Sweden, Denmark, Norway still very disappointing for extremely wealthy countries. Italy Spain, Greece, France, Austria, Belgium….also not too exciting, lots of pennies.
Australia, very rarely do I see a royalty over $10 so nothing great there.
Japan, Asia, Africa, Eastern Europe, India, and Latin America – these areas seem to be a non event, very little action at all.
Canada, pretty solid..I do see lots of 2 and 3 figure royalties
Brazil – also quite solid, certainly lots of line item in the $10 to $90 rangeBottom line is that the real meat and potatoes of all statements seem to always come from USA, GEMA, BUMA STEMRA, Canada, and Brazil, This has been a consistent observation of mine for many years now. Some countries are just not in the mood to share advertising revnue the way others do.
“Anyone have any thoughts on this…..?”
I think you find this a problem as much of your royalties are advertising based.
For TV, and streaming, and BMI – there should be cue sheets that properly designate the appropriate publisher.
- You must be logged in to reply to this topic.