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, TV/Film/Commercial Performances, etc.
Internet Streaming, Satellite Radio, Digital Downloads, CD Sales, TV/Film/Commercial Placements & Performances, Samples, etc.
Up for auction is a catalog of three diverse songs performed by three different artists: R&B crooner Tank, Mexican pop princess Sofia Reyes and none other than Ariana Grande herself!
The highest earner in the catalog is the song “Muévelo” performed by Latin pop star Sofia Reyes featuring Wisin. Released in 2014, the song accounts for 69% of historic earnings. “Muévelo” has a strong streaming presence with over 51 million Spotify streams, ranking second among Reyes' most popular Spotify songs. The song reached No. 18 on both Billboard's US Latin Pop Songs and Mexico (Billboard Mexican Airplay) and is certified-Platinum in Spain (PROMUSICAE).
Ariana Grande's, “Lovin It” is the most visible track in the catalog. The song is off her debut solo album Yours Truly from 2013. The album debuted No. 1 on US Billboard 200 charts and is certified-Platinum in 2016. “Lovin It” has over 20 million Spotify plays, while Ariana Grande ranks an impressive 4th in the world for Spotify monthly listeners.
The final track to make up this catalog is “F In Wit Me,” performed by R&B veteran Tank. The song is the second highest-earner with 19% of earnings to date. The hit is off Tank's seventh studio album, Sex Love & Pain II, which debuted at No. 1 on Billboard R&B chart and No. 15 on Billboard 200.
Streaming. According to the BuzzAngle 2017 Music Report, pop titles were the third-most streamed songs last year, representing 15.6% of all streams. Streaming accounts for 45% of this pop catalog's earnings last year and these earnings are on the rise -- growing over 100% in the last 12 months!
New Releases. Ariana Grande just recently released a new album Sweetener in August of 2018. While the new songs are not included in this auction, new releases can help boost an artist's back catalog. The release of new music draws discovery among first-time listeners and re-engages existing fans.
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.
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