Bandcamp’s platform for independent artists and labels is getting a bit more physical with a new vinyl pressing service.
Bandcamp provides a streaming platform and digital store for artists and labels to easily share their music with fans and the world. Their store lets uploaders choose to add merch and physical copies to their releases but now they want to open up the wonderful (and thriving) world of vinyl music to independent artists and labels.
Bandcamp announced the new service last week, citing that in the last 5 years vinyl sales have grown 600% on their platform alone. With 3,500 unique vinyl albums added to the site each month, Bandcamp decided that they can no longer ignore the new wave of vinyl popularity.
They felt that, as vinyl becomes the physical music of choice with streaming services replacing CDs, that it should be prioritised better for smaller musicians. They note that only 9% of albums with sales on Bandcamp in 2018 offered a vinyl version of their record – and even then they are often very limited pressings. Vinyl is still in many ways inaccessible for lots of small artists and labels.
Bandcamp’s new vinyl service will require no up-front investment so artists won’t be left out of pocket if their sales don’t perform as well as expected. To ensure quality of all pressings, Bandcamp’s vinyl partner has over 60 years experience in pressing vinyl that looks and sounds great.
The vinyl service will be launched for all artists and labels later this year with four pilot campaigns to show what they’ll be capable of with their vinyl service.
Eliminates risk. No out-of-pocket costs—your fans’ orders finance your pressing, you don’t.
Eliminates hassle. We press your records, print your packaging, and ship to your fans (and fulfill digital too).
Complete control. Your record’s design, and your campaign’s pricing and desired profit are all up to you.
High quality. Our manufacturing partner has over 60 years experience producing vinyl, ensuring your record will sound, and look, its best.
Ideal for offering vinyl at the same time as a digital pre-order, a first pressing of an existing digital-only release, or a repress of a sold out record.
The world of copyright can be a complicated one but as an artist or creator it is VITAL you understand how your work is protected by the law and how to ensure you have the protection you need.
Copyright can seem like a scary word sometimes. COPYRIGHT! See what I mean? But don’t worry, with a little knowledge you and copyright will be the best of friends.
Copyrights are all about security: music copyrights provide the legal protection of – you guessed it – music!
Music is a wonderful thing, especially as a creator. But it can be a cruel world out there; people sampling music without permission, stealing melodies (ahem Robin Thicke ahem), singing lyrics as if they are their own. You want to make sure your creative work is protected from this.
There are two types of copyright for music recordings:
Performing Arts (PA) Copyright – Composition
The composition copyrights apply to the substance of your music this means lyrics, chords, melody – everything that makes it unique.
Composition copyrights apply from the point of creation in the US. So, as soon as you have written your lyrics on paper, transcribed your music notation down, or even just recorded a voice memo – you now own the PA copyright to your piece.
The copyrights of compositions typically go to songwriters, composers and publishers making up the Publishing industry. Publishers make their profits by helping artists to copyright compositions that they think have a lot of potential.
Sound Recording (SR) Copyright – Master
This is the actual recording of your music. The version that’s on your SoundCloud, the file that’s on your computer, what play’s when you press play on your DAW.
As with compositions, master recordings become copyrighted from the moment they become tangible (i.e. recorded). If your sound recording is fixed, meaning it is captured in a medium from which it can be perceived, reproduced, or otherwise communicated – you can now claim ownership of it.
The copyrights of master recordings typically belong to the performers (who performed on the recording) and the copyright owners which are often a record label. The record industry makes it’s money from the sale and use of sound recordings.
A short recording may lack sufficient amount of authorship to warrant copyright protection if it is very short. This applies to all work, for example a few words could not be copyrighted by an author the same as a poem or novel could.
Master recording copyrights do not apply when they are accompanying a motion picture or other audiovisual works. When accompanying a piece of film the recording is considered part of that motion picture or audiovisual work and not it’s own entity so will come under the copyright of that.
To win a suit regarding your master recording you must:
Show that your creation existed first
Prove that whoever has copied your work was aware of it before
Sampling ‘n’ Stuff
Okay, now we need to talk about Derivative Sound Recordings. A lot of the people who upload their music to RouteNote to get their music on all the top services are talented producers who might sample, chop and remix from other tracks. Copyright applies here the same as anywhere else.
So first of all – YOU MUST HAVE PERMISSION. Depending on the artist or work you will normally need a license to use someone else’s music in your own. Written permission from smaller artists will normally suffice as long as you ensure they are the sole copyright holders.
For derivative sound recordings – an audio recording that incorporates pre-existing sounds, such as sounds that were previously registered or published or sounds that were fixed before February 15, 1972 – the pre-existing sounds must have been altered or utilised in a way that makes it different from it’s original recording.
As long as you have in some way changed the source material (basically you can’t just steal a track and do nothing to it) and have acquired permission (which it’s best to have in writing for your protection) then you’re all set to sample, remix, re-work and have fun with other recordings!
Your content may be protected from the point of creation but to take legal action against someone to protect it you must formally register your Sound Recording and Performing Arts protection with the United States Copyright Office.
To register with the US Copyright Office you need:
A completed application form (Read below for advice)
A non-refundable filing fee – $35 for a single author work. Save money by submitting an EP or Album in it’s entirety
The required ‘deposit’ of your work – recommended a digital file that cannot exceed 500 MB in size.
If submitting your work in a physical format, print a shipping slip after completing the online application form and deposit it in the same package as your ‘deposit’.
You can submit up to ten unpublished sound recordings using the online group registration of unpublished works. Must be unpublished and created by the same author(s) with all authors named as copyright claimants.
Multiple sound recordings can be submitted as a ‘collective work’. For example a digital album or CD. This will cover the individual sound recordings as well if they are owned by the same party and they have not been previously published or registered and aren’t in the public domain.
You can register multiple sound recordings with text and artwork as a ‘unit of publication’. This applies if they were physically packaged or bundled together and if all the recordings were published together in the unit.
Once submitted it becomes part of the public record and cannot be returned.
Guide to completing the Application form:
Type of Work
When you begin an application, select the “Sound Recording” option on the “Type of Work” screen. The questions you encounter when filling out the application are based on the choice you make at the beginning of the application. If you select the wrong option you will need to start over.
Provide the title exactly as it appears on the work itself.
“Publication” occurs when phonorecords of a work are distributed to the public by sale, transfer of ownership, or by rental, lease, or lending. Offering to distribute phonorecords to a group of persons for the purpose of further distribution or publicly performing the work also constitutes publication.
Simply performing a sound recording publicly does not constitute publication.
If the work has not been published, state that the work is “unpublished.”
If the work has been published, give the month, day, and year that phonorecords were first distributed to the public or first offered to a group of persons for further distribution or public performance.
The author of a sound recording is the performer featured in the recording and the producer who captured and processed the sounds that appear in the final recording.
If the performer or producer created the sound recording during the course of his or her employment under a typical employment relationship, then the sound recording is a work made for hire, and the employer is the author of the sound recording.
If the performer or producer created the sound recording for a third party as a compilation or contribution to a collective work, and if the parties agreed in writing that the sound recording will be a “work made for hire,” then the third party is the author of the work. For more information on works made for hire, see Works Made for Hire (Circular 30)
Type of Authorship
When registering a sound recording, check the box for “Sound Recording”
When registering artwork, photographs, or text of liner notes, include a brief statement to that effect in the “Other” field.
When registering a compilation or a collective work (see below), state “compilation of sound recordings” in the “Other” field.
Limitation of Claim
When registering a derivative sound recording, identify the preexisting material in the “material excluded” field and identify the new material in the “new material included” field. If the preexisting material has been registered with the Copyright Office, include the registration number and year.
We hope this guide helps you to navigate the turbulent seas of copyrights and that you make sure your work is protected as you want it to be.
See who’s streaming your music and how many people are listening, customise your artist profile and more with JioSaavn Artists Insights!
JioSaavn is India’s favourite music streaming service with over 250 million listeners it’s one of the most popular music services in the world! You can get your music on JioSaavn for free with RouteNote and with Artist Insights you can see exactly how your music is doing and making sure it looks how you want it to.
JioSaavn Artist Insights offers:
Up to date Streams and Monthly Listeners statistics
See where your listeners are coming from
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Add an artist biography to your profile
Getting access to your JioSaavn Artist Insights is simple if you’re the artist or an artist manager:
Red Bull are shutting down their music academy of lectures, workshops and concerts as well as their radio site.
Red Bull’s Music Academy provided a program of educational music opportunities as well as branded concerts. The energy drink company, with their hands in many pots, are ending their music program as well as shutting down their Red Bull Radio website.
The end of Red Bull’s partnership with Yadastar is the cause of the services coming to an end. Yadastar have used Red Bull’s influence to build their “culture program” worldwide since 1998 with workshops, festivals, studio sessions and events in over 60 countries since.
Red Bull said in a statement to Resident Advisor: “After 20 years of supporting artists worldwide with its music program in a rapidly changing world, Red Bull will maintain its purpose of providing a global platform to promote creativity – but it is changing the means of delivery. Red Bull will be moving away from a strongly centralized approach, will gradually phase out the existing structure and will implement a new setup which empowers existing Red Bull country teams and utilizes local expertise. Red Bull will continue to explore new ways to support promising and cutting-edge artists wherever they may be.”
The companies have mutually agreed to part ways at the end of October according to a tweet from Yadastar. In their statement they said: “We want to thank Red Bull for the opportunity and all its employees who have supported and realised music projects with us in local markets the world over. We know many of you have joined the company because you believe in the values we have all held up high. We are looking forward to seeing where you will take it from here.
“We met more fascinating minds and characters than we could have ever imagined. For that we are grateful. Now, we are very much looking forward to seeing you and people like you again. The world is full of great ideas. This was one.”
They say streaming has changed the value of the album but Billie Eilish has shown they still thrive when done right.
As the majority of music consumption now comes from music streaming people are listening differently. Playlists are the port of call for most people’s music discovery making singles far more valuable than they were when physical music made up the market.
Despite music streaming helping to boost music revenues worldwide after a nearly 20 year slump, some are critical of the new way of listening. Some critics have claimed that the album has lost its value as singles become prioritised. When you look at Drake’s recording breaking Scorpion album you can clearly see the effect that they’re talking about.
Drake’s album quickly became the most streamed album on Spotify but 60% of the streams were for just 3 songs, on his 25 track album! Albums are supposedly becoming longer to game the new method of streaming consumption, also evidenced by the ridiculous amount of tracks on his album. Lastly songs are becoming shorter on average so that they’re more likely to retain listeners on streaming services all the way through.
Whilst this is all true with some of the big label, pop artists it doesn’t necessarily reflect elsewhere. The people who are causing this change in approach were always inclined in this way but music lovers remain even if the platform ain’t the same. As Billie Eilish has proven with her dedicated fans and her new album.
Music Business Worldwide found that on the first day of her new album, When We All Fall Asleep, Where Do We Go?, listeners listened to 36 separate minutes of music from the record. That means they weren’t from the same tracks being played over, and equates to 81% of the album’s length.
Oliver Schusser, the Apple Music boss, predicted the success of Eilish’s album doing away with the priority of singles. Eight of the album’s songs are currently in the Top 10 of Apple Music’s global chart proving that the whole album has been a hit with listeners.
The performance of her album is a culmination of having a presence where she actually connects with fans, promoting the album as a whole rather than totally prioritising the singles, and creating the music with the whole album in mind. As with Drake the tracks aren’t created to be a cohesive whole, they are created to space out a release. Eilish shows it’s still possible to create an actual LP.
It goes to show that whilst the music landscape is changing it also depends on artists’ approach to it. There’s nothing wrong with prioritising certain tracks over an album if that’s how you want to approach your music career. But if you put the time in to make a complete piece of music as an album and release something that listeners old and new can relate with and enjoy then the power of the album is still very much in existence.
It’s become all too common to hear of producers getting screwed over or unappreciated for their work. This has to end.
Producers are a major artery in the blood flow of the music industry and that isn’t seen anywhere more than in hip-hop. Producers are often the key to hip-hop artists’ success, setting the stage for rappers to jump up and knock them down. Despite the key role they play in hip-hop music they are so often undervalued and it’s terrible.
So today is another day, and another story a producer being dicked over by an artist and/or their label. The producer in question is brandUn DeShay, a talent who has proved himself with artists like Mac Miller, Danny Brown, and Chance the Rapper over the years.
He worked with Joey Bada$$ on a couple tracks years ago before Bada$$ was the internationally recognised artist he is now. When DeShay produced for him the music went to free mixtape sites and all was good, but off the back of his success Bada$$ released the mixtape with DeShay’s work on streaming services.
Bada$$ and his team never got in contact with DeShay and now the tracks are earning money from streams and sales whilst DeShay sees none of it. He has been trying to contact the rapper for months with no reply and has now had to take it public for a response before taking it to the courts.
Unfortunately, this isn’t a new story at all. It happens all the time, a producer creates a beat for an artist and never sees a return on the success of it. It boils down to producers not getting the respect that they deserve or not being treated as equally as other people involved in the music.
Notorious producer Kenny Beats tweeted a, now-deleted, video last year saying: “If y’all knew the amount of fucking money I give up just to make sure a song comes out, ’cause people are so fucking stingy, you would not believe it.”
They can be held in ransom in a stick-up, blackmail type scenario where the artist won’t release the song unless the producer agrees to unfair compensation. So the producer becomes the bad person for wanting their rightful piece of the pie.
Then there’s issue with a lot of up-and-coming producers. They can be expected to work for free in return for the exposure they get by featuring on a track. Not only is that completely wrong, but producers have long been forgotten about – being listed in the liner notes somewhere if at all. So what recognition are they getting?
Producers are such a valuable part of hip-hop that the fact they are so often undervalued is abhorrent. They create the bread and butter of the track, without the beats hip-hop is wild beat poetry. It’s easy to argue that in many cases producers are as important if not more so than rappers in tracks.
DJ and artist manager, Adam Golden said on the issue: “If you’re an indie producer working with a major label and not everyone’s in the same room to sign a split sheet, you don’t have a lot of leverage. Labels will get the sound they want, regardless of whether the original producer is willing to cooperate with them.”
But it’s the rappers who sign multi-million dollar record label deals. It’s the rappers who make often make the majority of the money from streams and sales – at least on the creative side, of course there are still major issues with how much artists make after the labels take their cut. We don’t want to undermine the still very present frustration of artist and label disputes.
I think part of this issue is that hip-hop has become such a large genre that people on the come up go from small independents working together to major so quickly. When you’re working with your friends you don’t think about signing contracts and working out royalty percentages. Only when your friend signs to Universal does that become an issue.
Producers need to make sure they are protecting themselves correctly in the first place but artists and labels also need to reach out their hands and give producers the respect and recompense they deserve.
Of course a lot of times producers are fairly treated, they get credited and/or well compensated for their work. But it has become an all-too-common trend to hear another story of a producer’s plight. We need to work together to end it and make sure everyone in music is fairly treated.
What can we do to help producers and beat-makers?
Create a friendly and creative rapport between all parties to ensure everyone is informed and happy with the terms before releasing anything. It’s a working relationship, you need to make sure you’re on the same page so that no-one gets hurt. Contracts may feel like needless bureaucracy but they exist for a reason: to protect you.
Credit the people behind your beats properly. Acknowledge them where you can, they’ve played a big part in making your music where you can. Why not give them a shout out on your social media for contributing and tell your fans to check them out. They’ll probably do the same in return and it will make other producers more likely to want to work with you.
Use sites like Traktrain where you can find beats and instrumentals that people have made and are willing to sell for you to use. It makes it simple to find a beat you like and ensure everyone gets paid and is legally happy with what happens.
Since MTV broke in the 80’s music videos have become a massive part of artist’s careers. Being on a budget shouldn’t stop you making a great video.
First off you want to think about the kind of video you want to make. If you have ideas about what you want for your video then you can look at how to approach that. If you’re totally lost for what your music video will be then look at collaborating with a creative. If you know any filmmakers or artists they could help you realise your potential or look online and ask around. Remember that your video is going to represent you and your music.
Once you have an idea of what you’re going to do it’s time to prepare to make it happen. You will need equipment, primarily a camera if you intend to record footage. A high-quality DSLR is the best choice for a crisp, high definition video and if you’re working with a filmmaker they should have all the goods. If not, you’d be surprised the quality modern iPhones and top-range smartphones can do though you may want to get some accessories to aid in steadying the camera and smoothing motion.
Find a location for shooting. If you’re staying on a budget then the cheapest place of all is the outside world! Fields, quarries, beaches, forests, alleyways – everywhere has potential (but be careful of trespassing, you might want to shoot video quickly if you’re in a restricted area!) . Even your own home could have potential if it has space and fits what you want to do for your video. If you need a specific space look around, search online, and ask people to find the best deal.
Set a date. You need to find a time in which you, and everyone involved, can dedicate the best part of their day without interruption to making the video happen. If certain people can’t show up or you can only do a little bit at a time it’s going to draw out the process, further any costs and in whole impact upon the fluidity of your creative process.
Have fun but don’t lose track. You of course want to have fun with your video, you’re doing something your passionate about and should enjoy it. But at the same time you want to make sure you’re making it happen, it’s less important if no-one’s on a payroll for the event but still – time is money.
Bring it all together. Now it’s all recorded and you’re happy it’s time to turn it into the final product. If you’re fairly skilled with video editing then you can try editing the video into it’s final product alone and get the exact results you want. If you aren’t proficient with software though you should hire someone who really knows what they’re doing for a professional video – it’s worth the money and smaller producers won’t cost too much.
Release it unto the world! Now that the video is finished, the music is matched, and it looks and sounds great – it’s time to unleash it to the people. Take it online with sites like YouTube and Facebook, use it as a promotional piece to send to venues and labels you’re interested in, and revel in your own glory.
Tired of heading to PayPal to withdraw your payments every month? Now you can get payments sent straight through PayPal and into your bank account.
As artists your earnings are important to you. That’s why we’re thrilled to see that PayPal are making it possible to get any payments sent to your PayPal profile drawn straight out into your bank account.
We pay all of the earnings that you make from streaming services, download stores, YouTube and all of our other partners into your PayPal every month – 45 days after the end of the month that your music was streamed and sold. Soon you hopefully won’t need to wait a minute longer after we’ve sent your payments.
The automatic distribution of your PayPal wallet to your bank account is being rolled out to consumers in the US and will be extended to businesses there soon. Their president Bill Ready says that they are working on how they can extend this great new feature to other countries.