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.
Mar 27, 2018, 3:00 PM MDT
Last 12 Months' Royalties:
*Please see the FAQ tab for more information on the 10-year investment term.
This catalog features music released in the last two years from up-and-coming R&B and hip-hop artists as its main drivers. Bid to collect the next 10 years of royalty payments from music by Bas and VanJess. In the last 12 months, this music earned $9,167.
Songs from hip-hop artist Bas contribute the majority of the income. “Clouds Never Get Old” and “Ricochet” make up 61% of royalties in the last 12 months. These songs are off Bas’ second studio album Too High To Riot which debuted in 2016 at No. 49 on the Billboard 200 Chart. Popular hip-hop artist J.Cole signed Bas to Dreamville/Interscope records in 2013. Bas frequently collaborates with J. Cole as well as other big names in hip-hop like 50 Cent and DJ Khaled.
The sister duo VanJess gained recognition from their popular YouTube mashups and covers. Since then, they transitioned from singing covers to releasing their own music. Their reach has expanded from YouTube, with a song placement in the last season of HBO’s TV show Insecure and music currently featured on Spotify official playlists. In 2016 they released “Touch the Floor” which is this catalog’s second-highest earner, bringing in 29% of income in the last 12 months.
Tours and New Music. Bas and VanJess are actively touring throughout the spring and summer this year. Tours give artists the chance to solidify their current fan base and expand their reach to new listeners. Bas is opening for popular hip-hop artist J Cole at the upcoming Rolling Festival in Miami, Switzerland’s OpenAir Fraunfeld, and the Wireless Festival in London. VanJess is touring throughout Europe this spring with Little Simz.
In addition to touring, both artists have new albums slated for release this year. New releases can help boost an artist's back catalog because new music draws discovery among new fans who are listening to these artists for the first time.
What is being sold?
10 years of royalty payments derived from 100% of the seller's interest in the songwriter's share of domestic (U.S.) public performance royalties attributable to the seller's catalog of musical works. See the “Financials” tab for a full track list.
How does this asset make money?
Every time “Clouds Never Get Old.” or any song in this catalog, is played on Apple Music, Spotify, Pandora, or any other type of public performance, you earn royalties. BMI makes payments quarterly and the first distribution you will receive is June 2018.
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
BMI represents more than 10.5 million musical works created and owned by more than 700,000 songwriters, composers, and music publishers. BMI supports businesses and organizations that play music publicly by offering blanket music licenses that permit them to play more than 10.5 million musical works.
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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