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"On the cost side, meanwhile, Bonnaroo is famously thrifty. Organizers keep expenses in-house as much as possible, handling advertising through the newly launched Superfly Marketing Group and ticketing through their own website. As with any festival, the biggest expense is talent: One prominent agent who has booked multiple acts with Bonnaroo over the years estimates that the total cost of this year's bill is around $6 million, with headliners getting $1 million or more each. The economics change, though, the further you go down the bill: Second-tier acts often receive their standard fee or even less, and some lower-rung bands get nothing. They end up playing anyway because of the exposure."
Ahhhh....was trying to recall where this stemmed from. Good find Garageland....I remember reading that. I was trying to find old interviews with lower tier bands because I thought someone mentioned it one year.
Maybe this will shine a light on the compensation issue and cause them to fork over some more $ to the artists.
Spotify is a great tool for scouting out new albums and artists, but IMO it isn't a replacement for music sales in any way. If they started paying artists a more reasonable amount for each play they receive, that would be a big step in the right direction, though.
Honestly, given historical averages, what Spotify pays isn't outrageously low (especially if you give them the benefit of being the first company to make a legitimate effort at monetizing online plays for artists).
By way of example, the minimum statutory rate for a songwriting credit is 9.1 cents. So if I made an album of LCD Soundsystem covers, I'd have to pay James Murphy a minimum of 9.1 cents for every song he wrote. When you by that song from iTunes for 99 cents, 9.1 goes to James Murphy, the rest to me/my record label, and you own the song for life, to play as often as you like.
On the other hand, based on the op-ed by Galaxie 500, the songwriting credit per play on Spotify is .02 cents per play (this is based on them saying they were paid $1.05 for 5960 plays). So basically, if you listen to a song on Spotify 450 times over the course of your life, an artist makes more than if you buy the mp3.
450 is a lot of plays, but I was just quickly looking at my Last.fm stats, and I've listened to "All My Friends" over 200 times since it was released. Plus, artists get royalties not just for the songwriting credit, but for the performance on the record as well. Performance credits pay better. According to the same article, indie artists get .5 cents for every time I listened to an LCD Soundsystem recorded song on Spotify. (Plus I own that record on LP and CD, and saw them in concert several times, have a poster, etc).
So yes, Spotify is much less. But a songwriter gets nothing if you rip off a CD from the internet, which was becoming the status quo before Spotify. And I don't think it's unfair to ask "would there be an LCD Soundsystem without the internet?"
Post by itrainmonkeys on Jul 15, 2013 14:15:32 GMT -5
I don't pay for Spotify (yet) but do think it's worth the money. I've been able to get by just fine listening at home and work but I'm getting the itch to have it on the go as well.
At South x too most artists are playing multiple gigs. So they get the $250 or wristband from an official showcase, plus a few hundo from the fader fort, and another few hundred from the mountain dew stage or whatever.
Is this true? Not sure I believe it
Yes, most artists who play official SXSW showcases play other day parties and what not as well. Not sure what they get paid, but it's something.
Honestly, given historical averages, what Spotify pays isn't outrageously low (especially if you give them the benefit of being the first company to make a legitimate effort at monetizing online plays for artists).
By way of example, the minimum statutory rate for a songwriting credit is 9.1 cents. So if I made an album of LCD Soundsystem covers, I'd have to pay James Murphy a minimum of 9.1 cents for every song he wrote. When you by that song from iTunes for 99 cents, 9.1 goes to James Murphy, the rest to me/my record label, and you own the song for life, to play as often as you like.
On the other hand, based on the op-ed by Galaxie 500, the songwriting credit per play on Spotify is .02 cents per play (this is based on them saying they were paid $1.05 for 5960 plays). So basically, if you listen to a song on Spotify 450 times over the course of your life, an artist makes more than if you buy the mp3.
450 is a lot of plays, but I was just quickly looking at my Last.fm stats, and I've listened to "All My Friends" over 200 times since it was released. Plus, artists get royalties not just for the songwriting credit, but for the performance on the record as well. Performance credits pay better. According to the same article, indie artists get .5 cents for every time I listened to an LCD Soundsystem recorded song on Spotify. (Plus I own that record on LP and CD, and saw them in concert several times, have a poster, etc).
So yes, Spotify is much less. But a songwriter gets nothing if you rip off a CD from the internet, which was becoming the status quo before Spotify. And I don't think it's unfair to ask "would there be an LCD Soundsystem without the internet?"
There is no question Spotify is better than illegal downloads. As hardcore music fans, surely nearly all of us here, with our concert and festival attendance, plus CD/LPs and other assorted merchandise are doing our part to support the artists that we love. That article you linked says "On Spotify, one LP is equivalent to 47,680 plays." How many albums have I listened to that many times? Excluding the big names, how many albums on Spotify are going to get that many listens? And that just makes up for the equivalent of 1 LP. That's what isn't fair.
There is no question Spotify is better than illegal downloads. As hardcore music fans, surely nearly all of us here, with our concert and festival attendance, plus CD/LPs and other assorted merchandise are doing our part to support the artists that we love. That article you linked says "On Spotify, one LP is equivalent to 47,680 plays." How many albums have I listened to that many times? Excluding the big names, how many albums on Spotify are going to get that many listens? And that just makes up for the equivalent of 1 LP. That's what isn't fair.
That's not exactly right. He's combining both this songwriting credit and his performance credit since they own their own record label.
So by his math, he's saying there's a profit of $8.40 per LP (this would be a huge profit for an artist to expect to see from an LP sale). Now let's look at just the the song writing credit. If Galaxie500 owns just the songwriting credit, and their record label owned the whole performance (not as uncommon as you think), they're making a minimum songwriting credit of 76 cents per 12" LP. That's 4,313 Spotify plays. Which is still very low, but an order of magnitude better than his math indicates.
I think my math is wrong here. Checking now.
Edit: Also, are Galaxie500 records still in print? Would they be getting ANY money if there wasn't a monetized internet service out there for them?
Post by Delicious Meatball Sub on Jul 15, 2013 15:07:22 GMT -5
Let me use a different example from the above. I'm getting confused trying to reverse engineer their math.
DFA records is selling Benoit & Sergio's Principles/Everybody for $7.99. If the artists get the statutory minimum for a songwriting credit (DFA presumably pays much more, but this is just an example) B&S see 18.2 cents per sale of the album. So that's 1033 plays worth of songwriting royalties to equal the songwriting profit B&S would see from the sale of one 12" single.
Post by Delicious Meatball Sub on Sept 9, 2015 15:50:20 GMT -5
A new interactive tool called “Found Them First,” released today, promises to identify the bands you listened to before they were cool—and tell you what percentile of early listeners you fall into. It’ll also provide you with a playlist of similar artists you haven’t yet listened to.
A new interactive tool called “Found Them First,” released today, promises to identify the bands you listened to before they were cool—and tell you what percentile of early listeners you fall into. It’ll also provide you with a playlist of similar artists you haven’t yet listened to.
A new interactive tool called “Found Them First,” released today, promises to identify the bands you listened to before they were cool—and tell you what percentile of early listeners you fall into. It’ll also provide you with a playlist of similar artists you haven’t yet listened to.
I was ahead of the curve on these. I still listen to all of these minus Capital Cities.
Joey Bada$$ first 9% Kacey Musgraves Ghost BC Banks CHVRCHES Lucius first 2% London Grammar first 2% Sturgill Simpson Shovels & Rope first 6 % Sylvan Esso first 8% Capital Cities first 6% Jenny Lewis
I was 2/9 on my artists I actually listen to, but they were Run The Jewels and Mark Ronson so it's not like I actually found anyone unknown. I did get 1% for a couple so that's pretty nifty I guess.
Post by crazykittensmile on Sept 9, 2015 16:42:48 GMT -5
I will miss these random stats now that I'm primarily using Apple Music. Even if Apple has similar stuff, it won't take my history into account. First world problems to the max.
Post by 10goldbees on Sept 9, 2015 16:50:16 GMT -5
I had eight: Banks, Chvrches, Sam Smith, Lorde, Chet Faker, London Grammar, Shovels and Rope, and Sylvan Esso. I guess I listen to most of those people a fair amount. Bonnaroo is to thank for Banks. Disclosure is to thank for both Sam Smith and London Grammar. Boiler Room turned me onto Chet Faker. And all credit for Shovels and Rope goes to a girl I went on one date with who really liked them.
I went home and checked out the album and then she never called me back. I sat through the whole Shovels and Rope album for her, dammit
I will miss these random stats now that I'm primarily using Apple Music. Even if Apple has similar stuff, it won't take my history into account. First world problems to the max.
Same. I listen to things through other means and use Spotify mostly just for random radio listens, so my metric results always suck.
Hozier FKA Twigs Banks RTJ Wet Sam Smith (first 1%, what what) London Grammar Meghan Trainor Charli XCX (also first 1%) Sylvan Esso Capital Cities (first 2%)
Of these I still listen to the bolded ones on a regular basis.