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.
Nominated for the Best New Hip-Hop Artist of 2018, artist Playboi Carti’s Platinum single “Shoota” featuring Lil Uzi Vert drives 38% of earnings in the last 12 months.
This collection is further boosted by a roster of over 30 works from artist Lil Uzi Vert – highlighted by the 2X Platinum single, “Money Longer” and Platinum singles “Do What I Want” and “Dark Queen.” Collectively these tracks make up a quarter of recent earnings. An interesting feature of this catalog is 50% of its earnings in the last year are spread across 12 works. This offers built-in diversification.
Rounding out the earnings in this catalog are five tracks from Lil Uzi Vert’s 2X Platinum album Luv Is Rage 2, three tracks on the certified Gold album The Perfect LUV Tape, and three on the Platinum album Lil Uzi Vert vs The World. Additionally, Meek Mill’s “Almost Slipped” from his 2018 release Championships contributes to 6% of royalties collected in the last 12 months. The works in this collection range in age from one to nearly four years.
Hip-Hop/Streaming. This catalog is a perfect example of two trends: hip-hop and streaming's growth worldwide. According to BuzzAngle's 2018 Year-End Report, hip-hop is the most popular genre of music in the U.S. The driver for the increase is streaming. Hip-hop/rap tracks accounted for more than a quarter of all on-demand plays on music streaming services in the US in 2018. Streaming accounts for 81% of this catalog’s earnings over the last 12 months and these earnings are up over 30% in the same period.
International. The remaining majority of this catalog’s earnings come from abroad — at 19% of earnings in the last year. As the winner of this auction, you’ll be entitled to any past performance royalties paid by ASCAP, regardless of when they were earned. As this collection earns from countries outside the United States, it’s important to note that international earnings can often be reported to distributors with limited detail. These international earnings often include income from radio, streaming platforms, and TV/Film.
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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