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.
Jun 21, 2017, 2:02 PM MDT
Life of author + 70 years
Last 12 Months' Royalties:
$75 ASCAP Assignment Fee
Collect royalties from this accomplished artist who debuted on the music scene in 1989 and is still active today. Up for auction are public performance royalties from jazz saxophonist Kim Waters. In the last 12 months, this catalog of 150+ songs generated $4,624.
Waters music combines the of best of jazz, R&B, funk, and soul. This formula has led him to over 20 No. 1 hits and several songs in the top 10. Waters is also part of the Sax Pack, a smooth jazz group featuring 3 saxophone players: Jeff Kashiwa, Steve Cole and Kim Waters. Included in this catalog are both solo works and music from the trio.
Throughout his career Waters has released 22 solo albums. His work has been well received by critics. JazzTimes Magazine named him "simply one of the planet’s best saxophonists" and Upscale Magazine called him “the pied piper of smooth jazz.” His latest album, Rhythm and Romance, came out in June of 2016 and reached No. 12 on Billboard's Jazz Album chart
1. Longevity. Kim Waters debuted in 1989 and continues to release music today. Even his early works remains relevant, many still receiving radio airplay and streams. In fact, his song “The Ride” which was released over a decade ago was the second highest earner in the past 12 months, with a 42% growth rate over the previous!
2. Waters is active on the tour circuit. He has toured every year for the past 10 years and has upcoming shows scheduled throughout 2017. Touring helps artists stay in touch with their fan base, reinvigorate their back catalog and bring in new listeners.
What is being sold?
50% of the seller's interest in the songwriter's share of public performance royalties attributable to the seller's catalog of musical works administered by ASCAP. See the “Financials” tab for a full track list.
IMPORTANT NOTE:Possession of the songwriter’s portion of this asset must be taken via a trust, which is required due to ASCAP’s assignment policy. Please see the Post-Auction Process tab for further information.
How does this asset make money?
Every time “Bring It” or any song in this catalog, is played on the radio, streamed on Pandora, or any other type of public performance, you earn royalties. ASCAP makes payments quarterly and the first distribution you will receive is July 2017.
What rights are included?
Internet Streaming, AM/FM & Satellite Radio, TV/Film/Commercial & Performances, etc.
Internet Streaming, Satellite Radio, Digital Downloads, CD Sales, TV/Film/Commercial Placements & Performances, Samples, etc.
About the Royalty Distributor
ASCAP is the American Society of Composers, Authors and Publishers. It is a membership association of more than 575,000 composers, songwriters, lyricists and music publishers of every kind of music. ASCAP also represents music creators worldwide through agreements with affiliated international societies.
View a similar past auction for a jazz catalog here.
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)).
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