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Posts Tagged ‘money’

Making money with Youtube’s partner program

Saturday, February 4th, 2012

Youtube’s partner program has made some musicians realise that being active on Youtube can bring some real income. Here’s how it works and what you need to do to make money with it:

There are two types of partnership, the first one is for those who consistently upload great videos to Youtube, and the second one is called individual video partnership, those who have a single popular video can apply for this one.
Once one becomes a Youtube partner, you can start making money by either enabling ads to be displayed with your videos, or by making them available for viewers to rent. Some successful partners even made a career out of it.
Of course there are some criteria to meet in order to become a Youtube partner. You must own the content, both visual and audio, and the guidelines can be found at the copyright centre; and you need to upload regularly; moreover, you need to be over 18.
This partner program is currently available in 14 different countries, and the list of countries can be found here.
A lot of artists benefit from this program, however, some complained that they can’t upload covers anymore, which often get more views than original material. Also, even for original content, without proof of copyright one wouldn’t be accepted as a partner, while it takes time to copyright a song or an album.
Next we will post on how to make money on Yotube specifically with licensing your music.

A brave new era of music self release…

Tuesday, August 4th, 2009

According to NewMusicStrageties.com some artists still believe record labels are the best way to get their music out to the public. Artists believe there is security in being signed to a record label. The idea is that a major label provides people in the music industry that know what they are doing, they understand marketing, they have things like connections, promotion strategies, radio pluggers, PR, graphic design, branding, distribution, chart registration, bar codes, licensing, finance, and deals on pressing all sorted out – they are the corporate caretakers of the music business, and 20% of something is better than 100% of nuthin’. Their experience and advice, the guidance and navigation through all the decision making, is worth giving up the 80%.

There is substantial benefit in having a major behind you to advance studio money, and cutting the checks for the cost of promotional events to market your image – but, being “signed” to a major label is not the only means of getting your music to market. Its now common for an artist to be without major label backing, and he/she/they are no longer considered “unsigned”. Known as an “Independent”, modern technology has delivered the brave new era of self-release. The independent artist has the tools to record, release, distribute, promote and make money from their music on their own terms, keeping the profits and rights to their intellectual property.

The question is when should you begin marketing and selling your music online? In the old days of music publishing, the finished recording was the minimum standard for releasing material to the general public. Without the professional guidance from a seasoned music executive, how will you know when to start letting people hear what you’re working on? Well respected author and consultant Andrew Dubber says, depending upon whether you’re a beginner or a pro, and how confident you are in your professional abilities, “There can be a strong case made that encourages musicians to let audiences get a glimpse behind the curtain and see the music in development.” By and large and after all consideration, the answer can only be when you are ready. When you have prepared yourself mentally, emotionally and your song speaks to you and tells you that you’re ready. Not to worry, if you do need some solid advice, there are professionals who can help you master the era of self release.

Youtube still unplugged in the UK

Monday, June 1st, 2009

The Google owned video sharing site YouTube is blocking the UK from accessing music videos on their site after negotiations with the country’s Performing Right Society (PRS) for Music failed.  A statement from the owners of YouTube reads:

“Our previous license from PRS for Music has expired, and we’ve been unable so far to come to an agreement to renew it on terms that are economically sustainable for us. There are two obstacles in these negotiations: prohibitive licensing fees and lack of transparency. We value the creativity of musicians and songwriters and have worked hard with rights-holders to generate significant online revenue for them and to respect copyright. But PRS is now asking us to pay many, many times more for our license than before.”

The YouTube statement continued: “The costs are simply prohibitive for us–under PRS’ proposed terms we would lose significant amounts of money with every playback. In addition, PRS is unwilling to tell us what songs are included in the license they can provide so that we can identify those works on YouTube–that’s like asking a consumer to buy a blank CD without knowing what musicians are on it.”

PRS is claiming that the owners of Google are not willing to pay enough for licensing fees. In fact, PRS is outraged that the owners of Google would “neglect” artists and songwriters in this way. A report from the BBC states the changes were to take effect March 9, 2009.

YouTube pays a licence to the PRS which covers the streaming of music videos from three of the four major music labels and many independent labels.

Last week, PRS music, likely realising how many millions of dollars they are losing due to their stubborness, agreed to half their royalty rates from youtube. Smart move considering the site contributed 40 percent of PRS members’ plays!

I wonder if anyone will ever come up with an accurate analysis of just how much money artists with major representation are losing due to the lack of foresight the big music corporations have regarding the internet? It’s no wonder major artists managers are telling artists to go out on their own.

From a successful DIY indie musician…

Tuesday, February 24th, 2009

Jonathan Coulton makes a full time living as a music 2.0 internet musician.

Now that Jonathan Coulton is something of a household name in some segments of the online community, has anyone approached him with a deal with the devil and a pen dripping money? “I’ve had a couple of conversations… I’m not anti-label in concept,” he tells me. “I have people I pay to do things like a label would; I can’t do everything myself. That’s always been what a label is for. That’s still true. It’s just that the deals that have been proposed to me never made a great deal of sense; they always involve giving up a piece of what I already have, as a gamble to increase the fan base even more.”

It makes sense, and even for popular bands the economics of signing with a major label rarely work out. The band 30 Seconds to Mars found this out the hard way. After scoring a couple of catchy and popular radio hits and doing some touring, they found themselves on the wrong side of a lawsuit after their label decided it wanted more music from the group. Singer Jared Leto described the business of going platinum in an open letter to the fans. “If you think the fact that we have sold in excess of 2 million records and have never been paid a penny is pretty unbelievable, well, so do we. And the fact that EMI informed us that not only aren’t they going to pay us AT ALL but that we are still 1.4 million dollars in debt to them is even crazier,” Leto wrote, sounding exasperated. “That the next record we make will be used to pay off that old supposed debt just makes you start wondering what is going on. Shouldn’t a record company be able to turn a profit from selling that many records? Or, at the very least, break even?” He goes on to describe other aspects of the label he found intolerable, including the firing of the people who helped his band, EMI pressuring the band to place ads on its official website, and the fact that they will never own their masters.

Says Jonathan: “There is going to be some company that comes along that’s like a full-service label and has the scalability that a guy like me can do this sort of thing.”

So in Coulton’s world, the label doesn’t come to you and take control of things. Rather, you build your following, and then you hire a company that operates like a label. The most dramatic change in all of this is that the artist is the boss, every step of the way… Very much our philosophy at Pro Soul Alliance!

http://arstechnica.com/gaming/news/2008/09/jonathan-coulton-interview.ars

$15 for a CD? That’s old school!

Wednesday, February 18th, 2009

More and more artists are finding new ways to get in touch with their fans.
The first major artists to actually really listen to their fans, and not demand attention from them, was NIN’s Trent Reznor, and Radiohead. These two bands showed the world what is to come in the music industry: connecting with your fans as a way to earn income with music.

Over and over again, you hear industry leaders saying “Connect with your fans, connect with your fans!” and for good reason. Trent Reznor and Radiohead practically gave their most recent CD’s away for free and generated significant income, and now there are many artists doing much the same with success.

Gaining the respect of ones fans is now the only way to go. Who wants to have a fan’s friendship and loyalty for one hit single, or even one CD? What is that worth in the long term? Not much. The more an artists connects with their fans, the more likely a fan is willing to pay for that artist’s music, and support and promote anything the artist does for a long time to come.

Not to say that earning income from what one has created is not important. Downloads and ringtones, donations, as well as earnings from YouTube and imeem can provide some of the income to fuel the new music business. But only by serving fans and adding value to that relationship can music begin to move from pennies to dollars again.
After much effort, many indie artists are now earning a full time income using these techniques. Examples coming in the next post…

www.hypebot.com/hypebot/2009/01/analog-dollars-vs-digital-dimes.html#more

“I have no time and no money; how can I be successful?”

Friday, December 19th, 2008

I hear this a lot from artists that have spent a fortune doing things uninformed artists do, following advice that dissociated ‘veterans’ in the music industry have recommended. Now they’re broke, discouraged, and disillusioned – and out of time and money. Even though they may read all this new information and theories about what they need to do to be successful, according to the new leaders of the business, they have neither the time to experiment with these things nor the money to take chances.

Because the music industry is in the process of a massive shift, and no one knows exactly what the future looks like, some of the information out there is indeed theoretical. But much of it has been proven to work.  

Why else do you think that huge artists like Radiohead would ditch their record label and offer their music at ‘pay what you can’ prices? Because the new leaders in the music industry have been telling artists to do that for years! Many indie artists have experienced success doing these things, so others have since followed suit. And it works!

Here is one of many examples: Jonathan Coulton makes a living doing it himself

Unfortunately, as you may gather from this article, if you don’t have any time or any money, it is impossible to have any success in the music business. You either need to spend 6 to 8 hours a day – at least – doing what the new leaders and futurists in the music industry are telling artists that they need to do to become successful, or you need to spend some money to get assistance to do this. Ideally, you could afford both of these things.

That is where Pro Soul comes in. We’re the only full service company doing this, using the latest techniques that work rather than old fashioned ideas that are no longer effective.

Be honest with yourself; if you can’t do either of the above options, there is little hope for your music career. Once you address these issues, there is definitely a future for your talents!

– Jarome