Radio – Understanding How to Profit from the Digital Performance Royalty

By George Howard

As discussed in previous articles when an author creates an original work, and then “fixes” that work in a tangible medium (writes it down or records it), the author has created a copyright, and is granted six exclusive rights.  Each right is important for different reasons, and each ties directly to potential revenue streams that are crucial for artists to understand in order to build sustainable business models around their creative output.

This article highlights an anomaly with respect to United States copyright law as it relates to the exclusive right to publicly perform copyrighted material (in particular, when your music is “publicly performed” – i.e.played – by AM and/or FM radio).  The goals of this article are: 1. To increase awareness of the rules around this public performance royalty; 2. To provide suggestions on how artists can best focus their energies in the ever-evolving landscape.

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Gadgets We Like: TASCAM Portastudio for iPad

By Jeff Price

Way back in the old days – the 80’s – when I would walk barefoot in the snow uphill, I bought myself a TASCAM four track recorder.  I loved it.  I would pop in a cassette and record four tracks of me not playing anything very well.  I recorded my first song and played it over and over trying to find ways to improve it (sadly, nothing would have helped).

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How Radio Works

By Mike King

In a perfect world, radio stations across the country would play songs based simply on the merits of the songs themselves. In a perfect world, a major radio station in a major market could be solicited in the same fashion as a publicist solicits Rolling Stone, for example: by sending a package, making a follow-up call, and if the “deciders” (in the case of radio, the program directors) like what they hear, they would promote the record by playing it on air. Unfortunately this is not how large traditional radio stations work.

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