Registering Cues With Soundexchange and Harry Fox.

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  • #31518 Reply
    Art Munson
    Keymaster

    If I own 100% of writing, performing & copyright do I have an International Mandate?

    I believe so. That’s how I treated it but I’m not an expert.

    I have an ISRC code but where do you get an ISWC number? and, I have no UPC code, what is a EAN?

    ISWC is assigned by your PRO, I believe, but more info here http://www.iswc.org/en/faq.html.

    This will help with UPC and EAN https://www.gs1-us.info/upc-codes/

    I get my UPC codes from whomever I use for digital distribution. They are free with Level Music or Stem (the two I have been using).

    #31704 Reply
    Lincoman
    Participant

    Hi all,

    Just curious if anyone has received any income from SE or HFA yet? It seems like an enormous undertaking that pulls away from music making?

    Reading through this thread was although very informative, it was also exhausting :0)

    #31705 Reply
    Music1234
    Participant

    Yes. Below are 9 HFA Payouts I had last year. I also just received my first royalty distribution of 2019 for $525. This isn’t much based on 27 albums released and around 40 million streams of my songs since 2016. Many tracks were marketed and promoted by a 3rd party label that knows what they are doing inside this space. I can conclude that unless there is a marketing and promotional strategy to actually jack up stream counts, it may not be worth it to spend a lot of valuable time preparing consumer album releases. When you self release you will just get 25 to 100 streams a year per tune (unless you morph into a mega pop star or just by fluke, a “production music cue” tune takes off and gets popular on spotify for some strange reason).

    There needs to be a marketing and promotional effort to get the stream counts inflated into the millions which then generate “streaming mechanical” royalty payments like you see below. I would not have been able to accomplish this if I just released through CD baby and did things on my own. You need marketing and promotion of the music and that does cost money. I’m thinking real hard about buying stock in Spotify. They reported a profit for the first time ever 2 weeks back.

    $390.05 SPOTIFY USA INC.
    $962.96 HFA CONSOLIDATED PAYABLE
    $390.08 SPOTIFY USA INC.
    $499.15 SPOTIFY USA INC.
    $225.60 FACEBOOK INC.
    $366.22 SPOTIFY USA, INC.
    $91.64 SPOTIFY USA, INC. May 29, 2018
    $2.11 HFA CONSOLIDATED PAYABLE Mar 27, 2018
    $65.28 SPOTIFY USA, INC. Mar 2, 2018

    #32297 Reply
    angopop
    Participant

    What does “DSP” refer to in this thread?

    #32298 Reply
    Art Munson
    Keymaster

    What does “DSP” refer to in this thread?

    digital streaming platforms

    #32300 Reply
    angopop
    Participant

    Thanks Art.

    Two related questions for you all:

    I get my ISRC from AS. But the ISRC does not relate to my ‘version’ only the library version. Does this matter?

    How are you guys getting UPC and ISRC codes? Are you sending all your NE tracks to places like CD Baby that include those codes as part of their service? Or are you getting accounts and codes from the ISRC organization for ISRC, and GS1 for UPC?

    #32302 Reply
    mfaith2
    Participant

    Here is a current link to the online application for ISRC
    https://www.usisrc.org/applications/question/1

    #32306 Reply
    Art Munson
    Keymaster

    I get my ISRC from AS. But the ISRC does not relate to my ‘version’ only the library version. Does this matter?

    Yes, AS will get paid on those!

    I use STEM for digital distribution and they give you free ISRC and UPC codes.

    #32305 Reply
    mfaith2
    Participant

    More info re Assignment https://www.usisrc.org/about/assignment_guidelines.html

    2. An ISRC should remain with its recording for the life of the recording regardless of changes in ownership, licensing, territory or method of distribution. The rights may vary territory by territory but the ISRC remains the same.

    3. You should take particular care to ensure that you (i) never assign the same ISRC to two different recordings and (ii) never assign an ISRC to a recording that already has an ISRC issued.

    #32307 Reply
    Art Munson
    Keymaster

    and (ii) never assign an ISRC to a recording that already has an ISRC issued.

    The problem with that is that if a library releases your track on a compilation album, theoretically, you can’t release it again, AFAIK. That’s why I don’t let anyone release for me.

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