by Molly-Ann Leikin
Whereas researching present royalties for my new e book, INSIDER SECRETS TO HIT SONGWRITING IN THE DIGITAL AGE, I wanted to collect particular greenback quantities for all of the totally different sorts of performances. Nevertheless, as pushy as I’m, no person I contacted would give me actual figures. What? I stored noodging, however nothin’. I used to be surprised. The individuals I queried have been executives I’d know all of my songwriting life. I wasn’t some bowlegged, schlock scammer promoting third mortgages on pink igloos in Drugs Hat, however I felt prefer it.
Lastly, thank God, composer Richard Bellis, advised I contact Jeff and Todd Brabec, the authors of Music, Cash and Success. With their permission, I’m sharing this chapter of my new e book with you.
WHERE DO OUR ROYALTIES COME FROM?
Many of the cash we earn as songwriters comes from the performing rights space. There are organizations that gather royalties for us within the USA and in international international locations all through the remainder of the world. These organizations symbolize most songwriters, movie and TV composers, and music publishers.
The performing rights societies are:
the American Society of Composers, Authors, and Publishers (ASCAP), Broadcast Music, Inc. (BMI), SESAC (the Society of European Stage Authors and Composers), and World Music Rights (GMR). Collectively, these 4 societies gather greater than seven billion {dollars} for us a yr.
Beats workin’.
Efficiency royalty earnings continues properly past the lives of many writers. In truth, the copyright for our work is the lifetime of the author plus seventy years. Nevertheless, the royalty figures range for any given kind of use.
FOLLOW THE MONEY
- Quantity One Billboard pop tune of the yr: Author and writer earnings: $2,400,000
- Ten minutes of underscore per episode on a community TV sequence airing for ten years: Author and writer earnings: $1,656,000
- Theme tune for a community TV sequence on the air for 5 years: $460,000
- Tune carried out on digicam on a primetime community TV: $7,000
- Hit tune utilized in a industrial with a two-year broadcast run: $400,000
- Primary pop chart single: $1,400,000
- Quantity ten pop chart single: $500,000
- Quantity fifty pop chart single: $90,000
- Fifteen minutes of underscore on every episode of a tv sequence airing for one yr: $44,000
- One efficiency of a primetime community tv sequence theme tune: $2,000
- A serious standard tune’s lifetime of copyright earnings: $7,000,000 12. Jingle efficiency on community tv: $50.00
- Manufacturing firm emblem: $50.00.
- Worldwide international performances of a prime ten chart hit: $1,600,000
- International performances of the underscore from a primary worldwide blockbuster film: $1,000,000
- One school radio efficiency: six cents
As of this writing, I’ve heard from a whole bunch and a whole bunch of songwriters who’ve had over 1,000,000 performs every on Spotify and Pandora, however their royalty checks have been lower than $18.00. That’s not a typo. So, I strongly recommend you redirect your inventive efforts to the choices above.
Now get to work and write, re-write and re-re-write your unique songs, with unique lyrics, stunning rhythm and irresistible melody.
Write properly. Do your self proud. Write some hits and let me know the way you do.
ABOUT THE AUTHOR
Molly-Ann Leikin is an Emmy nominee who created the trade of Tune Consulting. She has written over six dozen themes and songs for TV reveals and flicks, together with Violet, which received an Oscar. Molly has additionally written with/for everybody from Katy Perry to Cher, Tina Turner, Anne Murray, Placido Domingo, Billy Preston – even Yitzy Ya Ya and the Yo Yo’s. And she or he has been the mentor to 2 generations of Grammy-winning lyricists, songwriters and singer/songwriters. Molly is the creator of INSIDER SECRETS TO HIT SONGWRITING IN THE DIGITAL AGE, and flosses. Go to her at www.songmd.com
For data on the 28th Annual USA Songwriting Competitors, go to: https://www.songwriting.internet
