Author Topic: Three Easy Ways to Make Money From Releasing Cover Songs  (Read 1439 times)

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Offline CatManDo

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Re: Three Easy Ways to Make Money From Releasing Cover Songs
« Reply #2 on: March 09, 2011, 07:16:49 AM »


The only challenge I see with doing a digital download cover for sale is with iTunes through some companies you get anywhere from $.40 to $.70 from the $.99 download. With Limelight, you have to pay $.91 per download for a song under 5 minutes.

Meaning, you’d actual end up owing per download. I could see it from the standpoint of promotion, but what happens if your download takes off into some big numbers?

Can someone explain if I’m understanding the math correctly or am misinformed. I love the idea of the article…just want to make sure its realistic.

Matt

Chris R. at CD Baby says:
March 8, 2011 at 10:14 am

Matt, I’m pretty sure your figures are off a bit. The statutory rate for DPDs (mechanicals for downloads) is 9.1 cents per song. So it’d be $.91 for a ten song album of cover songs. For one song,… 9.1 cents.

Offline CatManDo

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Three Easy Ways to Make Money From Releasing Cover Songs
« Reply #1 on: March 09, 2011, 07:14:33 AM »
Cash for Covers: Three Easy Ways to Make Money From Releasing Cover Songs On Digital Music Stores

March 1, 2011

This guest post was written by Alex Holz

It’s no secret Justin Bieber’s ascension to pop superstardom started with a cover song (a version of Ne-Yo’s “So Sick”).  Could he have achieved an “underdog to celebrity” rise without one?  Maybe, but Bieber performed a new spin on a decades-old formula readily available to any recording artist looking to acquire new fans and make additional money from their recordings.

Cover songs (a.k.a. “remakes”) provide an easy path to building audiences.  Releasing one is similar to getting introduced to a new person by way of mutual friend (the song) rather than through a chance encounter (an original tune found on a MySpace page).  A positive introduction is more likely when there is immediate common ground.

Cover songs also provide a unique way of tapping into alternate revenue streams for only modest expense (i.e. money spent securing the required mechanical license and paying royalties via Limelight, time spent learning the song, etc.).  So why is this an effective way of promoting your music?  Let’s explore…


Digital music services offer instant access for consumers to a 24-hour music warehouse that never runs out of stock.  The downside?  Two words: incomplete catalogue.  Not every track you have (or want) in your vinyl or CD collection is available to buy in digital format for any number of reasons (including licensing issues, artist reluctance, wrong brand of dijon mustard at deal signing, etc.).

Just as one person gathers what another spills – “incomplete catalogue” represents a simply supply and demand market opportunity for savvy artists and labels.  If an artist’s music isn’t available via an online store, other recording artists can take advantage by recording and releasing their own cover versions to meet market demand.

For example, if you search for Kid Rock’s music on iTunes (one of several mainstream artist catalogues that aren’t available), you’ll notice an early 1990 release, a live recording of “Bawitdaba” from Woodstock ’99, and surprise, surprise, several tribute records.  Why? iTunes search focuses on track popularity related to song title, artist name, album name and a variety of keywords.  Since the majority of Kid Rock’s catalogue is unavailable, the closest matches are tribute recordings and cover versions of his repertoire. In fact, two separate cover recordings of Kid Rock’s “All Summer Long” charted on the Billboard Top 100 in 2008 (The Hit Masters, The Rock Heroes) based primarily off digital sales alone.  The same principle applies for AC/DC, Garth Brooks, and a several other marquee artists whose catalogues have not seen digital release.


From a consumer viewpoint, a digital release’s major advantage over its physical counterpart is the ability to purchase individual tracks without spending money on unwanted tracks.  While the majority of online releases allow for a la carte downloading, many online retailers give record labels the option to carve out certain releases as “album-only” — the motivation being to increase full-album sales at the expense of individual song downloads (though sometimes done for rights clearance purposes).  Needless to say, “album-only” tracks deny consumers the opportunity to download individual tracks without purchasing the entire record.

Once again, obstacles presented by some labels represent a chance for entrepreneurial-minded artists and labels in releasing cover versions.  Since digital versions of television and movie soundtracks (such as Twilight and The Hangover) are routinely offered out as “Album Only”, recording cover versions of those songs in particular can present another opportunity in capitalizing on simple supply and demand.  If titled via an easy search terms comparable to the soundtrack, the cover versions will appear in search results alongside the original soundtrack.


Physical retailers are limited – staff on hand, hours in a day, and especially by the product real estate available to them.  While Best Buy, Wal-Mart, and other brick-and-mortar shops can only shelve music via singular genre / artist name fashion, digital music stores offer sophisticated search mechanisms, including track title, album name, release year, and even lyric focus.

While many artists may already be familiar with the term “search engine optimization” for purposes of their websites, less have extended that thinking to online music stores.  In the digital age, cover songs provide simple, effective music search engine optimization (especially for covering artists who don’t currently appear on iTunes, Amazon, Rhapsody, etc.).  The sophisticated search mechanisms afforded by online stores over their brick-and-mortar counterparts grant artists an easy tool to sell more music.

In instances where an artist’s repertoire (such as Journey, Beyonce, Katy Perry) is available via digital music stores, cover songs can benefit by way of song title searches.  While common song titles are unlikely to provide any benefit in enhancing search results, cover versions of songs with distinct titles can eclipse the original recordings in search results.  For example searching for “99 Problems” (Jay-Z) on iTunes actually results in a unique cover rendition by the artist Hugo ahead of the original.  Users who listen to and enjoy Hugo’s cover version are also likely to check out Hugo’s additional repertoire (including originals).

Next Step: Clear the Rights and Sell!
Before recording and releasing cover songs, you’ll need to secure a mechanical license (also known as a DPD license for digital downloads distributed via iTunes, eMusic, Amazon, etc.), which provides permission to legally record and distribute the song.  For artists looking to record video versions of their cover songs for purposes of YouTube, Vimeo, and other user-generated content sites, a separate synchronization license is required.

Several entities exist to help artists and labels clear mechanical licenses and ensure songwriters get paid, including Limelight — a simple, one-stop shop to clear any cover song and secure mechanical licenses for digital downloads, interactive streaming, ringtones, and physical albums.  Artists, bands and other musical groups can clear any cover song and ensure 100% of royalties are paid to the appropriate publishers and songwriters via Limelight.

http://FluffyCatRecords.com