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Prince Royalties? Is it correct that everytime a Prince song is played that (like the oldie stations) he or the Warners or both get some type of payment/royalty? And is it for every radio station let's say over the US? |
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Check out The Mountains and the Sea, a Prince podcast by yours truly and my wife. More info at https://www.facebook.com/TMATSPodcast/ |
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It is indeed correct. I worked for American Society of Authors, Composers and Publishers (ASCAP) for many years and we were responsible for paying out royalties for artists when their music was used in clubs, on the radio, on tv and in film. There are two such licensing organizations here in the US... ASCAP and BMI. As an artist if you're putting music out to a wide audience, you must be a member of one. We'd cut quarterly checks to the composers/publishers. I remember in the 80's, the largest checks I'd see were for Bob Marley, Stevie Wonder and Madonna.
Eventually I'm going to post a story about the Soundtrack to Purple Rain. I still remember it took a lot of work sorting out that mess. With Prince music it was always one thing reported to the public on the liner notes, yet composer credit/splits were very different behind the scenes. I handled that one...and got ole boy paid. lol
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Ain't that something...well, well. |
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omg please post that PR story soon, i would love, love, love to read about that . <3 Prince <3
For You - Big City | |
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http://createdigitalmusic...ually-pay/ As an addendum to the Last.fm story today, what are the actual royalty rates we’re talking here? They’re not much – precisely the reason musicians will have to get broadcast-style play counts to ever see anything worth counting. For instance, Last.fm makes the comparison with the BBC in the Wired story. The BBC has more hegemony than even a giant US ClearChannel radio station, and I suspect it’d be virtually impossible for an unsigned artist to see that number of plays. How little? Try $0.0005 per play, as Steve of sighup writes in comments. (I think that’s just radio plays; assuming you get both radio and on-demand plays, you should do a little better – but, still, you might be better off with your CD sales out of your guitar case.) Keep in mind, that’s on top of other revenue, like performance royalties from ASCAP, BMI, and such, but it’s still not much. Low as that may sound, it’s in the same ballpark as traditional webcasting rates. Prior to the big shake-up over Copyright Royalty Board rates here in the US, its rate was US$0.0008. And that’s only in the US, whereas Last.fm is international – and some of that goes to SoundExchange, and some goes to your label, and … you get the picture. The CRB and record industry did successfully pass higher rates, up to $0.001 (okay, still not putting your kids through college). Those rates caused an uproar from webcasters, but they were also initially associated with punishing minimum fees, which depending on the definition of what a “channel” is could have driven millions of dollars in fees for some webcasters. Those requirements, not the relatively tiny per-song rate, were what concerned artists and writers, because the new rules threatened to take away important channels for getting their music out there and driving sales to more lucrative enterprises like CD and concert sales. As it happens, that debate continues as we speak. In the June 5 RAINcast (Radio and Internet Newsletter), Paul Maloney points to reports that Pandora’s chief executive is personally lobbying against these rules, because they’d suck up 70% of that services revenue, for a total US$18 million in royalties. You can do the math: that’s enough to bury Pandora, but not enough so that you’d ever see any of the change. Everyone loses. RAIN also notes that SoundExchange hasn’t actually been enforcing its new rates, so we haven’t yet seen what happens to Internet broadcasting with the new rules – even though they were ratified last summer. So, Last.fm’s rates, while small, go straight to the artist, they’re transparent, and they’re in the ballpark of webcasting fees in the past. Since they’re set by Last.fm, we can assume CBS isn’t destroying its own business, either. And keeping things in perspective, this is really about Last.fm, not the entire universe of music. That’s the good news. The bad news is, they’re so impossibly small that for most people, it won’t really matter. And, yes, if Last.fm’s main business model is advertising, you have to wonder if artists won’t be more successful directly selling ads. Even Google AdSense could wind up being better for the artist, partly because it’s unclear how much ad exposure Last.fm can cram into its service. In the long run, my guess is you’ll see all of these – given the amount of ad inventory out there, and the rising consumption of music, and new ways of consuming music, I don’t think this is a zero sum game. But the bottom line: cool as the Last.fm announcement is, even I’ll quickly admit that royalty rates in general are unlikely to make or break most artists’ lives. The real business is elsewhere, at least for now. If Last.fm can massively expand the number of listens, though, the whole game could change –and that means even that fraction of a penny could wind up being an important precedent. Stay tuned. Prince did an interview with a woman at Record World. They talked about whatever, then he asked her: "Does your pubic hair go up to your navel?" At that moment, we thought maybe we shouldn't encourage him to do interviews. | |
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Whatever Prince receives from his music being played on radio, internet, and other sources..He gets the Lion's share. He was smart to cut out all the middle men.  Prince did an interview with a woman at Record World. They talked about whatever, then he asked her: "Does your pubic hair go up to your navel?" At that moment, we thought maybe we shouldn't encourage him to do interviews. | |
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You are not wrong but not quite correct either. 1 - You are only talking publishing rights royalties here; these are for the songwriters and music publishers for the public performance of their songs, not for the recording artists and record companies (with the exception of internet radio). This is different in Europe and other parts of the world where royalties are also due to the perfomers and producers of the sound recordings for the public performance of their recordings. Prince receives, or should receive royalties for the public performance of his songs and recordings from all over the world. 2 - It's not just about airplay on the radio, but also about use of songs on TV, for live performances and in restaurants and bars and such. In many countries basically for whatever form of public performance. 3 - Only radio, TV and live perfomers can give an exact tracklist to ASCAP or BMI so they can verify which songs were played, collect the royalties for it and pay them out to the right owners. For other music users with other means of publication usually a flat rate or something similar is applied. The system of paying out for those means of publication is therefore often kind of skewed since nobody really knows which music was used exactly nor how many times. Prince could be screwed over in that respect. 4 - Since Prince doesn't have a publishing agreement with Warner Chappel Music anymore, it's not likely that they still make money with collecting his publishing royalties. Universal Music did it for a while after, but not anymore either. Record sales and royalties that are still going to WB Records is a different story. --
[Edited 5/14/13 10:13am] | |
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Doozer said: Well I didn't the bit about live performances, well damn. I guess Prince has paid alot of royalties over the last 5 years with the covers he's played  She Believed in Fairytales and Princes, He Believed the voices coming from his stereo
If I Said You Had A Beautiful Body Would You Hold It Against Me? | |
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