We love you, Christian. And Paul too, of course, who is always very excited to bring us new products. Whilst acknowledging that Spitfire products are great, I swear part of the reason I buy them is probably because I feel like I know these guys, by now. You just cannot underestimate the power of PR and customer relations.
"You know Clarissa, the strangest thing happened the other day. I was just making my morning work commute and I got to the park when I saw a man talking to himself on a park bench. Now this itself wasn't surprising. I'd seen that maybe a dozen times before. What surprised me was that, when I was crossing his field of vision, he uttered the phrase "I'm going to wear some tight trousers." The absolute strangest thing, though, is that he was not muttering to himself. He was giving a slight projection to his voice, as if he was in conversation with someone at the time. Anyway, I'm not concerned. Just thought it was odd."
My recent royalty cheque from BMI was a joke. My work was featured on a US Showtime show along with various projects dotted over deferent TV networks across the world. I set up a music licensing business and make more in a week than I do in a year through BMI royalties. Don’t put all your hope on performing rights affiliations. Do it all yourself.
Although Christian is likely 100% correct, God forbid that we give up creating music and instead pander to the public’s Reality TV addiction as a means to get rich quick. But from listening to Paul’s explanation before that, it seems to me the music industry is the Wild West and desperately in need of some kind of regulation.... :(
Great discussion and thank you. I really appreciate the time you've put aside to discuss the matter of business when we're considering the field for soundtrack/film composers. And of course, yes there are similar principles in other professions when selling music. You've got to be good at what you do , you have to be patient (as it takes years to be a professional), you have to sell your craft, and be able to take no for an answer and not throw the towel in when it gets tuff.
"Mechanicals" is a weird term in the US vs ex-US: in the US it's the royalty the label pays to a publisher for each sale of a song on an album (9.1 cents per song per unit sold). The streaming mechanical is the rate Spotify & other streaming services pay per-stream to a publisher (which pub then splits with the writer) - and it's extremely low at about $.0036 per stream. Mechanicals in the UK & EU are what we'd call sync rights in the US -- but broadcasters in the UK don't have to clear sync & master rights for music that's published or sub-published in that territory, where any broadcaster can use that music for free or, as they call it, "blanket agreement" - and that mechanical stuff is murky. But there's no artist performance royalty for broadcast in the US (like there is in the UK via MCPS). The differences between US & UK (including the lingo used) would take a whole flowchart to map out, but would make for a great video.
Completely relevant and worthy advice. It's as much about who you know as it is what you know nowadays. Great video once again, thank you Paul & Christian!
The whole thing's a racket. Basically the entire structure is designed to fob off the composer with the smallest fee they can get away with. By far the worst aspect, though, as Paul suggests, is the publishing racket, whereby companies try to take your publishing, and will most times insist on it, just so they can grab some of the income stream that your music generates. They will not perform any of the traditional duties expected from an actual publisher. Really, unless you are topline, which is a handful of people, you will be exploited mercilessly. Is it worth it?
I understand that for a pop or rock artist, creating music, and then promoting it (for free) on RUclips is a way to drive ticket sales for live shows and to sell t-shirts. What is the alternative income stream for the film, tv, or games composer when publishing companies or the company that commissioned the work are paying small upfront fees and and trying to grab a slice of your writer’s share? Thoughts?
Thank you Christian and Paul! To be honest, as a budding media composer, the whole situation with the music rights and the financial divisions with third parties seems more than confusing to me. Sometimes I don't even feel like learning and composing anymore. I am quite frustrated at the moment. Belonging to a PRO may make sense. But do I necessarily need a publisher, a management and/or a lawyer? Good gracious! Thank you very much for all your efforts!
Christian, aside from the overall quality of Spitfire products, notwithstanding the You Tube traffic perks, I sometimes wonder how many peeps appreciate your joint (Paul inc) incite into what has always been a rather fickle and precariously poised business :).
I tried to get an agent about 20 years ago after my first two TV commissions....nobody was hiring composers back then (well that's what they were all telling me, at any rate!!). I'm surprised that the timing of the 'tight trousers' comment didn't get a reaction from the young lady walking past you on the bench Christian!
Just imagining my new T-shirt "Frankie says . . . watch me fail & boost your own self-esteem". I guess the Frankie Says legal bods will be leaping for joy now?
Great vid guys. One small comment. In the USA, Netflix pays out to BMI. I have 4 or 5 films that are on Netflix and I get BMI from them. Very little cash, almost Spotify like, ( 6 dollars for a film with almost 80 minutes of music this last q) but it does pay.
This is a great biz point: Netflix does pay performance royalties for films that they acquire and stream -- but for original Netflix series commissions, they do NOT pay performance royalties.
I think you are wrong. Ad revenue usually pays more than product sales if you have a music channel. RUclips takes 45% I have a channel with 1.6 millions subs and I can barely sell any tshirts. Most revenue is from ad revenue and downloads and streaming.
Spotify pays smaller artists as little as $0.0025 per play. Merch is the only way to really make money these days (especially now that people can't play shows)
Sobering, especially when it comes from people trying to sell you software to make this moving air. Maybe it times to get into real estate or something else.
It has become complicated, hasn’t it? It’s a sad thought for me that musicians make others rich once they ‘hand over’ their productions and hard work, regardless of licensing, royalties, etc. Bottom line - it’s HARD to prosper nowadays as a musician, mixing engineer, etc. What a dream to have your OWN way of direct selling to fans. Will blockchain be on the rise for musicians as a financial solution?
![Jack Harlow - Hello Miss Johnson [Official Music Video]](http://i.ytimg.com/vi/Q86_nlRoIGw/mqdefault.jpg)
Hahaha, "People want to see you fail. You sell them t-shirts while they watch you fail." Truer words have never been spoken.
We love you, Christian. And Paul too, of course, who is always very excited to bring us new products. Whilst acknowledging that Spitfire products are great, I swear part of the reason I buy them is probably because I feel like I know these guys, by now. You just cannot underestimate the power of PR and customer relations.
14:11 is the realest, most truthful thing I've ever heard all year!!! Right on the money!
Wait the whole video is an advert for spitfire...explaining how its an advert for spitfire, genius
"You know Clarissa, the strangest thing happened the other day. I was just making my morning work commute and I got to the park when I saw a man talking to himself on a park bench. Now this itself wasn't surprising. I'd seen that maybe a dozen times before. What surprised me was that, when I was crossing his field of vision, he uttered the phrase "I'm going to wear some tight trousers." The absolute strangest thing, though, is that he was not muttering to himself. He was giving a slight projection to his voice, as if he was in conversation with someone at the time. Anyway, I'm not concerned. Just thought it was odd."
I can username better than you lmao
My recent royalty cheque from BMI was a joke. My work was featured on a US Showtime show along with various projects dotted over deferent TV networks across the world. I set up a music licensing business and make more in a week than I do in a year through BMI royalties. Don’t put all your hope on performing rights affiliations. Do it all yourself.
Although Christian is likely 100% correct, God forbid that we give up creating music and instead pander to the public’s Reality TV addiction as a means to get rich quick. But from listening to Paul’s explanation before that, it seems to me the music industry is the Wild West and desperately in need of some kind of regulation.... :(
Great discussion and thank you. I really appreciate the time you've put aside to discuss the matter of business when we're considering the field for soundtrack/film composers. And of course, yes there are similar principles in other professions when selling music. You've got to be good at what you do , you have to be patient (as it takes years to be a professional), you have to sell your craft, and be able to take no for an answer and not throw the towel in when it gets tuff.
"Mechanicals" is a weird term in the US vs ex-US: in the US it's the royalty the label pays to a publisher for each sale of a song on an album (9.1 cents per song per unit sold). The streaming mechanical is the rate Spotify & other streaming services pay per-stream to a publisher (which pub then splits with the writer) - and it's extremely low at about $.0036 per stream. Mechanicals in the UK & EU are what we'd call sync rights in the US -- but broadcasters in the UK don't have to clear sync & master rights for music that's published or sub-published in that territory, where any broadcaster can use that music for free or, as they call it, "blanket agreement" - and that mechanical stuff is murky. But there's no artist performance royalty for broadcast in the US (like there is in the UK via MCPS). The differences between US & UK (including the lingo used) would take a whole flowchart to map out, but would make for a great video.
I really love the whole Spitfire team. I've been watching all your video content lately. It's all very helpful and inspiring. Many thanks!
I love how confused Paul's get while explaining these, then hand it over to Christian :D
Completely relevant and worthy advice. It's as much about who you know as it is what you know nowadays. Great video once again, thank you Paul & Christian!
I would love to see the unedited version of the end bit!! The dog is brilliant. Oh, the rest of the video was good too.
Christian, you are awesome. One day I'll get to meet you and say thank you in person.
Thank you Christian & Paul!
Fascinating and informative as ever. You and Paul are such great guys Christian. If only I was 10 years younger - and a woman.
The whole thing's a racket. Basically the entire structure is designed to fob off the composer with the smallest fee they can get away with. By far the worst aspect, though, as Paul suggests, is the publishing racket, whereby companies try to take your publishing, and will most times insist on it, just so they can grab some of the income stream that your music generates. They will not perform any of the traditional duties expected from an actual publisher. Really, unless you are topline, which is a handful of people, you will be exploited mercilessly. Is it worth it?
I understand that for a pop or rock artist, creating music, and then promoting it (for free) on RUclips is a way to drive ticket sales for live shows and to sell t-shirts. What is the alternative income stream for the film, tv, or games composer when publishing companies or the company that commissioned the work are paying small upfront fees and and trying to grab a slice of your writer’s share? Thoughts?
We’re in the T Shirt business Baby!!!
Great info...Great Samples... Thanks to Splitfire team. 🙋🙏
Only just seen this video. Tight-trousered air movers should’ve been the name of a band John Peel once championed.
Thank you Christian and Paul! To be honest, as a budding media composer, the whole situation with the music rights and the financial divisions with third parties seems more than confusing to me. Sometimes I don't even feel like learning and composing anymore. I am quite frustrated at the moment. Belonging to a PRO may make sense. But do I necessarily need a publisher, a management and/or a lawyer? Good gracious! Thank you very much for all your efforts!
Christian, aside from the overall quality of Spitfire products, notwithstanding the You Tube traffic perks, I sometimes wonder how many peeps appreciate your joint (Paul inc) incite into what has always been a rather fickle and precariously poised business :).
So much truth there especially the diversification...
omg love the dog cameo. great vid as always damn
Kolutic4723 Agreed! The dog is a real star!!! 😂
Thank you, so very much for making this video.
I tried to get an agent about 20 years ago after my first two TV commissions....nobody was hiring composers back then (well that's what they were all telling me, at any rate!!).
I'm surprised that the timing of the 'tight trousers' comment didn't get a reaction from the young lady walking past you on the bench Christian!
She was a paid extra, professional to the end.
Christian Henson Music 😂😂
Thank You! Very helpful!
Now I wanna buy a Christian Henson T-Shirt !
Brilliant. Thanks alot for that insight!
Just imagining my new T-shirt "Frankie says . . . watch me fail & boost your own self-esteem". I guess the Frankie Says legal bods will be leaping for joy now?
great video here folks
Great vid guys. One small comment. In the USA, Netflix pays out to BMI. I have 4 or 5 films that are on Netflix and I get BMI from them. Very little cash, almost Spotify like, ( 6 dollars for a film with almost 80 minutes of music this last q) but it does pay.
Thats generous of them...
totally lol
omg...
This is a great biz point: Netflix does pay performance royalties for films that they acquire and stream -- but for original Netflix series commissions, they do NOT pay performance royalties.
@@KerryMuzzey Good clarification. Thank you!
I think you are wrong. Ad revenue usually pays more than product sales if you have a music channel. RUclips takes 45%
I have a channel with 1.6 millions subs and I can barely sell any tshirts. Most revenue is from ad revenue and downloads and streaming.
Well, that was depressing.
More great stuff guys!
I would have liked to see Oscar hack out whatever that was he chomped down (maybe an Oscar out takes film?).
Haven't you seen his RUclips channel?
Where can I buy the Spitfire or Henson T-Shirts then?
I want one or one of each...
Well they did release the Spitfire Annual...
Awesome, but the question is, how do you get your foot in the door?
Spotify pays smaller artists as little as $0.0025 per play. Merch is the only way to really make money these days (especially now that people can't play shows)
So you quit your job in a clothes store to work as a musician and end up selling shirts.
Paul’s the man 👨
So where can I get a Spitfire t-shirt?
The industry didn’t understand music radio either. needle time!
💯
Sobering, especially when it comes from people trying to sell you software to make this moving air. Maybe it times to get into real estate or something else.
i have enough Iron Maiden t shirts 👔
.. selling t-shirts, getting bums on seats and touring around the world.. ? I'm depressed.
It has always been this way, its why Led Zeppelin slogged it around the US continuously, its why U2, ACDC and Take That are still hard at it!
This was a kinda inspiring in an odd way.
Nice bit of product placement for the Apogee. :-)
You need to know the right people, trust me. It’s maybe about 1% talent 🤦♂️
1% talent 24% contacts 75% luck
1% talent. 90% sucking up to people who can’t remember your name. 9% willingness to stab others in the back.
80% perspiration 20% opportunity 5% accounting
Philip Sheppard 😧
@@radiomovies That's not how math works.
"Coersive Publishing..." A better euphemism might be: Intellectual Rape.
It has become complicated, hasn’t it? It’s a sad thought for me that musicians make others rich once they ‘hand over’ their productions and hard work, regardless of licensing, royalties, etc. Bottom line - it’s HARD to prosper nowadays as a musician, mixing engineer, etc. What a dream to have your OWN way of direct selling to fans. Will blockchain be on the rise for musicians as a financial solution?
I wouldn’t do anything without wearing tight trousers 👍🏻
Lol!!!
YouCHUBE!!!
This video should get like millions of views…. every second of the whole 15 minutes is pure gold… thanks for sharing 🤍