CMU INSIGHTS PRESENTS THE ROYALTIES CONFERENCE
Where’s my fucking money?
We track all the money as it goes from sale, sync and stream to artist and songwriter, via labels, distributors, publishers and collecting societies. How are your music rights really making money and where do all the royalties go? Including global collective licensing explained; the shift to direct licensing in live; and digital’s big transparency problem.
Where’s My Fucking Money? How The Cash Flows
Whether the money comes from a CD sale, a radio play, a download, a stream, a sync or a public performance, how does the cash flow as it goes from licensee through to artist and songwriter? We look at the royalties that come into the music rights business, for both songs and recordings, and track them as they flow, through both direct deals and collective licensing, seeking to answer on behalf of the artists and songwriters whose music is behind all the revenue, “where’s my fucking money?”
CMU Business Editor Chris Cooke will talk through each music rights revenue stream in turn, while a number of other music rights experts will present additional and timely insights, including the following…
Licensing consultant Becky Brook will explain at a high level what deals a streaming service must do in order to license all the recording and publishing rights it needs to exploit.
Sophie Goossens, European IP law specialist and lecturer at Paris IX University, will update us on the new European directive on copyright in the digital single market, and how it impacts on music.
Amanda Carmichael, Head Of International at PPL, will explain how performers are paid when their recordings are broadcast and performed in public, and how they can ensure they receive all the money they are due from performances of their tracks around the world.
Nigel Dewar Gibb from Lewis Silkin will discuss why ‘rights equal revenues’, what’s needed to secure those rights, and the economic consequences of not doing it correctly, highlighting certain practices that impact on the chain of rights and the flow of revenues.
Catlotta De Ninni, Head Of Reserach at Imogen Heap’s Mycelia initiative, will introduce a new project that will help music creatives better understand how their songs reach the world and generate income.
Direct Licensing In Live
Traditionally the live sector secured all of its licences to stage public performances of other people’s songs through the collective licensing system – ie PRS and all that. But now some artists are starting to move to a direct licensing model. Why?
PACE Rights Management’s Adam Elfin will outline why artists like Deftones, Dire Straits’ Mark Knopfler and Mr Big’s Paul Gilbert have chosen to go this route, while CMU’s Chris Cooke will explain to confused promoters everywhere what exactly it all means, before discussing the pros and the cons of the approach with both Adam and rights management expert Maria Forte
When Music Gets Synchronised
Everyone wants a sync deal, but what does that deal look like exactly? What money is there to be made and how do the royalties flow in? And how does the business of production music and original commissions work?
CMU’s Chris Cooke and Sentric Music’s Simon Pursehouse explore all the ways artists and songwriters can make money working with the TV, movie, gaming and advertising industries, including interviews with The Box Plus Network’s Director Of Commercial & Business Affairs Stacey Mitsopulos, the BBC’s Head of Music Licensing Nicky Bignell, PRS For Music’s Director Of Broadcast & Online Andy Harrower and more!
Where’s My Fucking Money? The Transparency Problem
As artists and songwriters call on government to put pressure on the big music corporations to be more transparent about their digital deals, we will reveal what information music creatives and their managers want access to and why they need it, based on the findings of the Music Managers Forum’s ‘Dissecting The Digital Dollar’ research. CMU’s Chris Cooke – who wrote that report – will discuss its findings with MMF CEO Annabella Coldrick. Reps from FAC and BASCA will then provide their perspective, plus we’ll hear from the labels and publishers already offering artists a little more clarity.