Historic royalty income is no indication of future royalty income. Future royalty income is dependent upon future sales and licensing revenue generated by the sound recordings or compositions associated with this listing.
Internet Streaming, AM/FM & Satellite Radio, Digital Downloads, TV/Film/Commercial Performances, etc.
Internet Streaming, Satellite Radio, Digital Downloads, CD Sales, TV/Film/Commercial Placements & Performances, Samples, etc.
This collection boasts strong earnings from hip-hop and pop acts from around the world. The vast majority of the catalog’s historic income (91%) is generated in Sweden, although it has collected earnings from over other 50 countries as well.
Streaming is the largest source of earnings, accounting for 75% of the last 12 months earnings. And while digital download activity is in decline throughout the industry, downloads for this catalog are up considerably year-over-year.
This catalog is also diverse in its income distribution amongst the songs. The highest-earning song only accounts for 17% of historic income. This means the catalog’s earnings are not tied to the success of a single track and provides some built-in diversification.
The collection’s top three earnings songs come from the Swedish hip-hop act Kartellen, accounting for 34% of last year’s revenue. Released in 2012, “Mina Områden” is the catalog’s highest-producing track in the last 12 months and still continues to produce royalties today. Other Kartellen titles include “Underklassmusik” and “Svarta Miljonärer” and “AM43,” among others.
Also included are tracks from the soundtrack to the 2016 American mockumentary Popstar: Never Stop Never Stopping. Those songs include “I’m So Humble” and “Donkey Roll.” Combined, the two songs account for 14% of last year’s income.
Dollar Age This offering has a Dollar Age of 4.92 years. This means the majority of royalties earned in the last 12 months came from songs that have collected royalties for nearly five years. A high Dollar Age like this suggests stability and longevity.
Diversity in Song Income Mix. Revenues are also widely distributed — the single highest-earning song only accounts for 17% of historic income. This means the catalog’s earnings are not tied to the success of a single track and provides built-in diversification.
NOTE ABOUT DISTRIBUTION FREQUENCY
STIM pays on a quarterly basis, with four regular payments each calendar year. In addition to these quarterly payments, STIM also distributes "out of cycle" payments for digital music services. These dates are estimated (not fixed) and can vary throughout the year. The winner of this auction will receive all future distributions for the included works in this offering paid by STIM. Read more about on STIM's payment schedule here.
About the Royalty Distributor
STIM is a Swedish collective management organization for music creators and publishers. On their behalf, STIM administers and licenses performing and mechanical rights to music and lyrics. STIM was founded in 1923 and is headquartered in Stockholm. STIM is a non-profit organization representing 85,000 songwriters, composers, text authors and music publishers worldwide.
Public performance royalties are payments made by radio stations, hotels, restaurants, night clubs, etc. to the composition copyright holder(s) for each public performance of the copyrighted work. In the U.S., public performance royalties are typically paid to performing rights organizations (e.g., ASCAP, BMI) who then distribute the royalties to the copyright holder(s).
Mechanical royalties are royalties deriving from per-unit payments made by recording companies or digital download providers to the composition copyright holder(s) for every purchase of a sound recording that reproduces the copyrighted composition.
Non-interactive digital performance royalties are payments made by non-interactive music services (i.e. those that mimic the experience of a radio broadcast) of a statutorily-set amount (on either a per-play or annual basis—depending on the type of service) to SoundExchange for the benefit of the sound recording copyright holder and the performing artists for the right to perform the copyrighted sound recording via non-interactive, digital means.
non-interactive digital performance royalties
The royalties owed to the creator(s) of a musical composition which are paid in return for the right to reproduce, distribute, or perform the copyrighted work.
A musical composition is one of the two copyrightable parts of a recorded song. It consists of the song's music, including any accompanying words, (i.e. the portion of a song that is capable of being fully expressed as sheet music) and is separate from any particular recording of the song or its performance by any particular artist.
A sound recording is one of the two copyrightable portions of a recorded song. It results from the fixation of a series of musical, spoken, or other sounds in a tangible (at least momentarily permanent) medium.
The portion of royalties owed to the owner of a sound recording. The owner may the performing artist, the producer, or another party (such as a record label) who contractually acquired the ownership of the copyrighted work (e.g., through a recording agreement), owns it by virtue of an employer-employee relationship with the creator(s) of the work, or specially commissioned the work.
rights owner's share
The portion of royalties owed to the performers of a sound recording in return for the right to perform the copyrighted work via non-interactive, digital services (e.g., Pandora, Spotify).
The portion of royalties owed to the music publisher which are paid in return for the right to reproduce, distribute, or perform a copyrighted musical composition, arising from a contractual obligation (i.e. a publishing agreement) or employer-employee relationship with the creator of composition (i.e. the songwriter(s)).
If an asset requires splitting up a catalog by works or percentages, Royalty Exchange may need to provide royalty accounting services to the buyer, seller, or both. This is because the royalty distributor may not be able to split royalties as intended by the asset transfer. Royalty Exchange's involvement helps to ensure accurate royalty payments. It also helps assure buyers and sellers that they are not missing out on potential earnings.
The accounting process often involves manual spreadsheet work and coordinating with royalty distributors. Royalty Exchange's goal is for the accounting service to be temporary. We plan to work with distributors to find solutions that will allow us to revert accounting and payment obligations back to the distributor, removing ourselves from the process. In the meantime, we've instituted the 5% fee to help offset costs in the manual accounting.
Please see the sample accounting agreement document for reference.
Why does Royalty Exchange need to account?
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