TikTok doesn't pay "per play", but rather per video that the licensed musical work is used. Part of my music catalog is licensed to TikTok and I have the 11 page licensing agreement in front of me. It's in section 1 (i) - Publisher's Pro Rata Share.
TikTok doesn't pay "per play", but rather per video that the licensed musical work is used. Part of my music catalog is licensed to TikTok and I have the 11 page licensing agreement in front of me. It's in section 1 (i) - Publisher's Pro Rata Share.
Are you saying you receive more than a tenth of a cent for 1400 streams? This is how it is listed on royalty reports - I'm not sure how that "per video" thing you're talking about would work - that seems to imply it's a flat payout for every video uploaded? I've seen the royalty reports from CD Baby and Soundrop and TuneCore etc myself, and this is how they are listed, as "streams." And everything you read seems to indicate you would be paid based on how many times it is streamed/played/whateveryouwanttocallit. But yeah if you're making more than a tenth of a cent on 1400 plays on TikTok, I would find that very interesting. That was my whole point, TikTok is paying an absurdly low amount.
Some distributors commingle TikTok, Resso, and Luna data in their reports. They operate as subsidiaries under the same parent company, but they're different businesses. I get reporting from Distrokid, CDBaby, Soundrop, Routenote, and Catapult, and they all handle it differently. Resso is the on-demand streaming service, and the rates are going to be extremely low compared to the US because of the standard of living where they operate (India, Indonesia). Luna is the newer, Chinese-based streaming app.
Recording artists and the media should not confuse TikTok plays with "streams". It's not the same thing as Resso or Luna (or Spotify). TikTok can be used without the audio on, and the app knows this. That's likely why the licensing agreement refers to "videos". TikTok also knows when people are using unlicensed music and the videos will lose their music very quickly.
Did you opt-in to the TikTok license with Music Reports? If you didn't, then your music shouldn't be available in the TikTok licensed library, and you are likely receiving royalties from Resso or Luna. Additionally, I receive mechanical royalties from TikTok through Music Reports, however this is directed to Songtrust, my worldwide mechanical and publishing administrator, and I receive quarterly reports that way.
I think the point Jason was trying to make was the diminishing size of the revenue stream and whether it is viable for the up and coming musician who doesn't have brand name recognition yet. I'm not that familiar with TikTok but this applies to whatever streaming service one uses.
Okay, is that your experience? Is it anecdotal or is it universal? Everything I read on the data side confirms that it's almost impossible for 95% of the music profession to make a living this way. Is Gioia incorrect in his article?
Ted is absolutely correct with this article, especially the section where he says: "There are thousands of people thriving nowadays without the support of any legacy media outlet or powerful institution." He's talking about me.
TikTok doesn't pay "per play", but rather per video that the licensed musical work is used. Part of my music catalog is licensed to TikTok and I have the 11 page licensing agreement in front of me. It's in section 1 (i) - Publisher's Pro Rata Share.
Are you saying you receive more than a tenth of a cent for 1400 streams? This is how it is listed on royalty reports - I'm not sure how that "per video" thing you're talking about would work - that seems to imply it's a flat payout for every video uploaded? I've seen the royalty reports from CD Baby and Soundrop and TuneCore etc myself, and this is how they are listed, as "streams." And everything you read seems to indicate you would be paid based on how many times it is streamed/played/whateveryouwanttocallit. But yeah if you're making more than a tenth of a cent on 1400 plays on TikTok, I would find that very interesting. That was my whole point, TikTok is paying an absurdly low amount.
Some distributors commingle TikTok, Resso, and Luna data in their reports. They operate as subsidiaries under the same parent company, but they're different businesses. I get reporting from Distrokid, CDBaby, Soundrop, Routenote, and Catapult, and they all handle it differently. Resso is the on-demand streaming service, and the rates are going to be extremely low compared to the US because of the standard of living where they operate (India, Indonesia). Luna is the newer, Chinese-based streaming app.
Recording artists and the media should not confuse TikTok plays with "streams". It's not the same thing as Resso or Luna (or Spotify). TikTok can be used without the audio on, and the app knows this. That's likely why the licensing agreement refers to "videos". TikTok also knows when people are using unlicensed music and the videos will lose their music very quickly.
Did you opt-in to the TikTok license with Music Reports? If you didn't, then your music shouldn't be available in the TikTok licensed library, and you are likely receiving royalties from Resso or Luna. Additionally, I receive mechanical royalties from TikTok through Music Reports, however this is directed to Songtrust, my worldwide mechanical and publishing administrator, and I receive quarterly reports that way.
I think the point Jason was trying to make was the diminishing size of the revenue stream and whether it is viable for the up and coming musician who doesn't have brand name recognition yet. I'm not that familiar with TikTok but this applies to whatever streaming service one uses.
He's wrong about that, too.
Okay, is that your experience? Is it anecdotal or is it universal? Everything I read on the data side confirms that it's almost impossible for 95% of the music profession to make a living this way. Is Gioia incorrect in his article?
Ted is absolutely correct with this article, especially the section where he says: "There are thousands of people thriving nowadays without the support of any legacy media outlet or powerful institution." He's talking about me.