Dear fellow musicians,

Today, I'd like to share with you one of my favourite Bandcamp's alternatives! It is called Mirlo (@mirlo@musician.social) and, from their website:

• Mirlo provides a user-friendly space to help musicians sell music, manage subscriptions, and share with their supporters.
• Directly support musicians. Buy their music. Collectively owned and managed.

This is not a promotion tool, however, it features a couple of "discovery" ways that people can find your music and, needless to say, it's a place where to monetize it.

The current pricing is the following: "Mirlo uses a transparent and consistent pricing model. We charge you 7% of your sale, and our payment processor (Stripe) takes a roughly 3% cut."

You can find all the features here.

They are launching a Kickstarter campaign soon, I haven't checked the details yet (if any), but keep an eye on that if you're interested on what they are coming up with! 😀

Dear fellow musicians, in case you didn't know there is a 100% fediverse-sourced online radio called Radio Free Fedi (@radiofreefedi@musician.social).

About radio free fedi, from their website

/***********************************************/ Our friend Gabe from @owncast@fosstodon.org really wanted a 24/7 feed of fedi artists, video, audio, anything. Given various attempts by Gabe and ourselves at both video and podcast formats with sustainability of content and buy-in issues, RFF is an invitation to a community driven pivot.

radio free fedi is consent, agency and artist celebrating community radio from the fediverse. We actively and openly present contributing artists' information with the hopes that you will drop-in, discover, and then LEAVE? That's right, RFF has no interest to be an end-point for hyper focused consumption. We also do not have the resource to provide infinite custom streams and we love the community to not do souless algorithms. We want to foster organic discovery and discourse. We want to generate support for fedi artists on the platforms and methods of their choice, no judgement. Support independent and fedi artists! /***********************************************/

You can easily submit your music which will be then in rotation on the radio! You'll have the chance to be discovered and discover other fedi musicians!

In the submission, you can indicate your fedi account and your favourite support method which the listeners can easily click when your track is playing :)

From their website again: *** Keep submitting music, voice reads, written pieces! Keep listening and discovering. Every day is a great day to discover and support independent artists! ***

Hello everyone, I'm doing some box cleaning and I found a bunch of cables which I'll ask for your help for identification, if you don't mind 🙃

So, as the title says, how do you call this cable?

! Thank you!

Hello everyone, I'm trying to see if this method somehow works. *** For those who don't know, SteamGift is a platform where you can either join giveaways or create them, gifting, well, Steam keys. *** So, the main idea is that when creating a giveaway, you can write a description where you promote your music, and, depending on the game, you might get a decent amount of impressions.

The thing is, some good classics, sometimes get some 90%+ discount and you can buy them for not more than a couple of €. For instance, I created a giveaway (well, this was 8 years ago, but I'm back to try this lmao) for The Witcher 2 which I paid probably 2€ and it got 4140 entries.

Recently, I gave away:

• Metro: Last Light Redux - paid 1,79€ - 1740 entries;
• Postal 2 - paid 0,68€ - 778 entries;
• Rubber Bandits - paid 0,90€ - 1347 entries;

The ratio cost/entry is not bad, but unfortunately, it looks like 99.9% of people don't even read the description. So far, this method is not worth it, I think I'll try a few more and then I can consider it failed (if the trend stays the same).

Have you ever tried something like this?

Hello everyone :)

I guess the title says it all! Anyways, the main purpose of Monetize Your Music is to create:

1. some kind of checklist that every musician should go through to make sure that all the deserved royalties are collected (I haven't collected some of them for years because I didn't know they existed! And I know a lot of people in the same situation);
2. some kind of collection of the best (and worst) tools/methods to promote the music itself.

If you have something to say about it, you need to know something about it or whatever is your status, you're very welcome to join!

Thanks for your attention, ciao!

!monetize_your_music@lemmy.world https://lemmy.world/c/monetize_your_music

DISCLAIMER Even though royalties should work roughly the same everywhere, everything which follows is written from an EU point of view. Always make sure about the conditions of each company you are signing with. *** This thread will be constantly updated with new info acquired. Please, feel free to correct the OP or add missing information in this and any other thread in this community. *** In this thread, I'd like to gather the most important information that every musician should know about royalties. TL;DR sign up with a PRO and with SoundExchange (or analogue) and claim all your songs. ***

Performance Rights Organisation (PRO)

***

What does a PRO do

A PRO (typically) collects the following royalties:

1) Performance Royalties;

• Performance royalties are generated when a musical work is publicly performed. Public performances include plays on radio, television, live concerts, clubs, restaurants, streaming services, and other public venues.

2) Mechanical Royalties; (this could be collected by labels and distributors)

• Mechanical royalties are generated from the reproduction or distribution of recorded music. This includes sales of physical copies (CDs, vinyl) and digital downloads or streams.

3) Synchronization Royalties;

• Sync royalties are earned when a musical work is synchronized with visual media, such as movies, TV shows, commercials, video games, or online videos.

***

Who should sign up

1. Songwriters;
2. Publishers; ***

Which PRO to choose

There are many PROs in the world and theoretically, they should provide the same service (plus/minus). Normally, you might prefer the PRO which is located in your country, for easier communication and easier taxation process. However, each PRO has its practices, systems, processes and so on (eg. annual fee), so you can check and choose which one overall suits you the best. You can possibly register in more than one PRO, but you cannot delegate 2 PROs to collect royalties for the same country. Ultimately, it shouldn't matter for which PRO you sign for, all of them should collect the same royalties and worldwide. I will start a list of PRO (by country, alphabetically) with which I had some (direct or indirect) experience. I will add more if somebody provides information.

• Czech Republic: OSA
• Germany: GEMA
• Italy: SIAE ***

Digital Performance Royalties (DPR)

***

What does a DPR collecting company do

A company working on DRP (typically) collects the following royalties:

1) Digital Performance Royalties;

Digital performance royalties are generated when a recording is performed on non-interactive digital platforms such as internet radio, satellite radio, and streaming services. These royalties are only related to the actual sound recording.

***

Who should sign up

1. Recording artists (including session and featured musicians)
2. Copyright owners (eg. labels, producers, could be the artist itself)
3. Managers of the above mentioned ***

Which DPR to choose

Like PROs, there are many companies which do this, and the same rules apply here. As above, here's a list by country ordered alphabetically:

• Czech Republic: INTERGRAM
• Italy: ITSRIGHT - NUOVOIMAIE
• United States: SOUNDEXCHANGE (specifically DIRECT) ***