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, CD Sales, TV/Film/Commercial Performances, etc.
Internet Streaming, Satellite Radio, Digital Downloads, CD Sales, TV/Film/Commercial Placements & Performances, Samples, etc.
Up for bid is a pop collection boasting strong worldwide earnings from several global artists and groups. Thanks to its international appeal, this catalog earns from over 70 countries, with 86% of historic income coming directly from Japan and Spain.
Streaming is the fastest growing source of earnings, up 186% in the last 12 months over the previous timeframe. And while digital download activity is in decline throughout the industry, downloads for this catalog have remained stable. But the biggest source of revenue in the last 12 months was live performances — with 39 songs generating royalties from live performances around the globe.
To date, the highest-earning title is “Mi Norte Es Tu Sur” performed by Spanish pop vocalist David Bisbal, with 24% of last year’s royalties. “Mi Norte Es Tu Sur” was released in 2016 off Bisbal’s double-Platinum album Hijos del Mar. Closely behind it, is “Spinning” (bringing in 20% of last year’s earnings) from South Korean pop duo Tohoshinki. The 2014 release saw a recent spike thanks to the group performing it live in Japan and it was re-released by Tohoshinki on a 2018 compilation album.
You’ll notice a significant earnings spike in 2017. This stems from the single “Joy-ride” from the massively popular Japanese male group, Exile. While released 2016, it was used as theme song for Fuji TV's broadcast of the 2016 Summer Olympics, which caused that spike. Rounding out the top-earning songs in the catalog is a new release “Gentleman” from Korean boy band Shinee, and “Caught In The Middle” performed by American singer-songwriter Anastacia.
Mechanical Royalties. As the winning bidder, you’ll be collecting the songwriter’s public performance and mechanical royalties from the Swedish performing rights organization, STIM. When a song in this catalog is streamed on-demand, it counts as both a public performance and a “mini-purchase.” This means the winner of this auction will collect two payments for one use of a song!
Pop & Streaming. According to the BuzzAngle 2018 Music Report, pop titles were the second-most streamed songs last year, representing 19.3% of all streams, up from 15.6% in 2017. Streaming accounts for 9% of this pop catalog's earnings last year — and its income is on the rise — a significant increase over the previous four quarters.
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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