Au$tin
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Post by Au$tin on Aug 20, 2015 21:34:37 GMT -5
Downloads arent profitable for artists either. They literally get pennies from a sale. Apple takes 30% off the top too. They probably still earn more from digital sales than streaming, though. I mean, you don't hear about artists running away from iTunes because of low pay like you do with Spotify. |
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YourFaveIsAFlop
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Post by YourFaveIsAFlop on Aug 20, 2015 22:54:17 GMT -5
I mean, artists on majors don't make anything from album sales either really.
Obviously everybody's deals are different with regard to royalties, but on a $1.29 download, Apple is taking 39¢ right away. That remaining 90¢ then gets divided amongst the label for recoupment & everybody with a stake in the track. The writers, producers, session musicians, mixers, sound engineers etc get a cut. Unless you're selling hundreds of thousands of tracks, nobody except apple & the label are making any real money from sales.
That's not just a function of the digital market though. Look at a group like TLC that was selling millions of CDs in the 90s & get practically nothing in royalties. Granted their contract was worse than most, but artists themselves really don't make much from sales unless you have a huge seller.
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THINKIN BOUT YOU
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Post by THINKIN BOUT YOU on Aug 21, 2015 1:07:18 GMT -5
I mean, artists on majors don't make anything from album sales either really. Obviously everybody's deals are different with regard to royalties, but on a $1.29 download, Apple is taking 39¢ right away. That remaining 90¢ then gets divided amongst the label for recoupment & everybody with a stake in the track. The writers, producers, session musicians, mixers, sound engineers etc get a cut. Unless you're selling hundreds of thousands of tracks, nobody except apple & the label are making any real money from sales. That's not just a function of the digital market though. Look at a group like TLC that was selling millions of CDs in the 90s & get practically nothing in royalties. Granted their contract was worse than most, but artists themselves really don't make much from sales unless you have a huge seller. Hi! I'm actually kind of interested in this kind of topic.. So.. given the multiplicity of roles involved in the production of a song, how much in general does an established artist gain from each $1.29 sold? Let's say a thumping success like "can't feel my face" that sold more than a million copies to date, did the Weeknd get $100,000 from it (that's like 8% of the total revenue)? Else say an independent artist or duel like Macklemore & Ryan Lewis who's like label-free isn't it? How much more royalties do they get when a million copies were sold when the destination of money is less varified? |
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THINKIN BOUT YOU
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Post by THINKIN BOUT YOU on Aug 21, 2015 1:13:45 GMT -5
I mean, artists on majors don't make anything from album sales either really. Obviously everybody's deals are different with regard to royalties, but on a $1.29 download, Apple is taking 39¢ right away. That remaining 90¢ then gets divided amongst the label for recoupment & everybody with a stake in the track. The writers, producers, session musicians, mixers, sound engineers etc get a cut. Unless you're selling hundreds of thousands of tracks, nobody except apple & the label are making any real money from sales. That's not just a function of the digital market though. Look at a group like TLC that was selling millions of CDs in the 90s & get practically nothing in royalties. Granted their contract was worse than most, but artists themselves really don't make much from sales unless you have a huge seller. A. TLC got virtually nothing? Then why did they sign this kind of highly uneven contract anyway? Say they just wanted to gather attention? B. How could Apple be such a greedy sonuva*****? Then what about Amazon? Or any other digital retailers? Do they get a fair share of the whole enchilada like apple? |
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YourFaveIsAFlop
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Post by YourFaveIsAFlop on Aug 21, 2015 4:25:48 GMT -5
How is apple greedy for wanting to make money for selling a product? Any store you go to puts a mark up ok what you're buying, it's how they make a profit.
Lots of people sign really unfair record deals, some knowingly and some no so knowingly. Many artists in the industry get shafted by labels.
Obviously the fewer hands in the pot, the more money everybody gets. That's why writing and production credits are a big deal to a lot of artists. Some one who writes, produces, and plays an instrument on the track potentially has more royalty potential than An artist who just has a vocal credit.
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Post by Rose "Payola" Nylund on Aug 21, 2015 5:30:20 GMT -5
I'm pretty sure people who work on a song (studio musicians, engineers, mixers, producers, etc) get paid only for the work they do at the time it's done. Money from sales of albums and songs don't go to them.
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felipe
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Post by felipe on Aug 21, 2015 7:12:33 GMT -5
I mean, artists on majors don't make anything from album sales either really. But why then do we see people like Taylor Swift complaining so much about Spotify but not about digital downloads? |
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YourFaveIsAFlop
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Post by YourFaveIsAFlop on Aug 21, 2015 7:38:27 GMT -5
Taylor's gripe with Spotify has nothing to do with artist payouts tbh. It had to do with the fact that she didn't want people to be able to listen to her music on a free ad-based service. Which is why she never pulled her stuff of other services that were subscription only.
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Future Captain
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Post by Future Captain on Aug 21, 2015 8:08:23 GMT -5
I really wish I care. If only streaming services is available in my country. My country is practically in the stone ages.
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Kworb
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Post by Kworb on Aug 21, 2015 9:13:13 GMT -5
Sales estimates 1. Can't Feel My Face 115,000 2. Cheerleader 107,000 3. Locked Away 95,000 4. Fight Song 88,000 5. Watch Me 83,000 6. The Hills 82,000 7. Good For You 71,000 8. 679 66,000 9. Marvin Gaye 65,000 10. Lean On 64,000 11. Fly Away 61,000 12. Cool For The Summer 57,000 13. Photograph 56,000 14. Drag Me Down 55,000 15. Stitches 54,000 16. She's Kinda Hot 48,000 17. House Party 47,000 kworb.net/cc |
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badrobot
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Post by badrobot on Aug 21, 2015 10:03:39 GMT -5
^ This is correct! I forgot BoB spent 29 weeks on, peaking at #53! 9 weeks of growth post purge cut-off... I think you guys are wrong. The recurrent rule definitely used to be that songs ranking below #50 and that spent more than 20 weeks on the chart were automatically removed (although I think they recently changed it to allow exceptions for songs that gain in points after the 20th week). Was not aware that they increased it to 30 weeks. The rule is they're removed unless they are gaining in points. So you can stay on the chart below 50 for a bit if you are slowly growing. |
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badrobot
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Post by badrobot on Aug 21, 2015 10:20:53 GMT -5
Downloads are mildly profitable. Independent artists can pocket virtually all of that remaining 70%. Artists on labels can negotiate how much they get, and if the artist is also the songwriter they're in an even better position.
But musicians make money touring and selling merchandise and licensing. Sales/streaming is dead as a major revenue source and that's probably permanent.
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aser94
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Post by aser94 on Aug 21, 2015 10:30:58 GMT -5
I think they did tweak the rule though so a recurrent doesn't necessarily have to be within the top 50 anymore to re-enter. Because didn't "Drinking Class" by Lee Brice re-enter below the top 50 in its 21st week a few months ago?
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Dylan :)
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Post by Dylan :) on Aug 21, 2015 10:55:27 GMT -5
I think they did tweak the rule though so a recurrent doesn't necessarily have to be within the top 50 anymore to re-enter. Because didn't "Drinking Class" by Lee Brice re-enter below the top 50 in its 21st week a few months ago? I think that was because it reached a new peak that week |
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85la
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Post by 85la on Aug 21, 2015 12:41:27 GMT -5
For physical recordings, established artists usually take in around 10-20% from gross sales. For digital I'm not sure, but it's probably a little less or maybe about the same in some cases. So that's not exactly nothing.
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YourFaveIsAFlop
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Post by YourFaveIsAFlop on Aug 21, 2015 13:22:23 GMT -5
For physical recordings, established artists usually take in around 10-20% from gross sales. For digital I'm not sure, but it's probably a little less or maybe about the same in some cases. So that's not exactly nothing. 10-20% is $1-2. You have to sell a lot of albums to make the kind of money people think artists make from sales. |
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felipe
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Post by felipe on Aug 21, 2015 14:39:49 GMT -5
For physical recordings, established artists usually take in around 10-20% from gross sales. For digital I'm not sure, but it's probably a little less or maybe about the same in some cases. So that's not exactly nothing. 10-20% is $1-2. You have to sell a lot of albums to make the kind of money people think artists make from sales. o they get a certain percentage of the SRP or the actual price paid by the costumer? If a retail discounts your album, do you get paid less, or does the retailer take a smaller profit, since it was their call to discount it? |
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Spidey
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Post by Spidey on Aug 21, 2015 15:04:31 GMT -5
Artists make their money by touring. That is where the money is.
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THINKIN BOUT YOU
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Post by THINKIN BOUT YOU on Aug 21, 2015 15:10:03 GMT -5
Artists make their money by touring. That is where the money is. What percentage of dough from touring goes to an established artist then? 50%? |
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Spidey
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Post by Spidey on Aug 21, 2015 15:11:55 GMT -5
Artists make their money by touring. That is where the money is. What percentage of dough from touring goes to an established artist then? 50%? I am not exactly sure about the percentage. |
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Deleted
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Post by Deleted on Aug 21, 2015 15:39:50 GMT -5
Sales estimates 1. Can't Feel My Face 115,000 2. Cheerleader 107,000 I don't understand this...CFMF had a SIGNIFICANT lead over Cheerleader all week. Cheerleader is at less than 75% now. This sakes difference should be much more than 8k. Should be 15k-20k. |
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rimetm
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Post by rimetm on Aug 21, 2015 18:57:26 GMT -5
You have to account for the remix with Kid Ink. Just for sake of demonstration, here's how it was each day:
Friday
Can't Feel My Face 1.0000
Cheerleader 0.9286
(NOTE: Fly Away was #1)
Saturday
Can't Feel My Face 1.0000
Cheerleader 0.9702
Sunday
Can't Feel My Face 1.0000
Cheerleader 0.9515
Monday
Can't Feel My Face 1.000
Cheerleader 0.9082
Tuesday
Can't Feel My Face 1.0000
Cheerleader 0.8711
Wednesday
Can't Feel My Face 1.0000
Cheerleader 0.8446
(NOTE: Fight Song was #1)
Thursday
Can't Feel My Face 1.0000
Cheerleader 0.7812
Yes, I agree it's on the fall, but it was matching up rather closely for at least 3 or 4 days, resulting in a thinner than expected margin.
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Deleted
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Post by Deleted on Aug 21, 2015 19:05:38 GMT -5
^ I did account for the remix and I could swear CL (both versions combined) was on average about 85% of CFMF this week.
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Kworb
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Post by Kworb on Aug 21, 2015 23:03:57 GMT -5
Omi has five versions in the top 1000. All of them combined make it a pretty close race.
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THINKIN BOUT YOU
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Post by THINKIN BOUT YOU on Aug 21, 2015 23:48:03 GMT -5
"West Coast" was sold 118,000 while "High by the beach" 67,000 and her follow-up "Terrence loves you" is nowhere to be seen as an iTunes chart topper.. sad to see that. Is her fan-base shrinking?
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Ravi
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Post by Ravi on Aug 22, 2015 0:42:36 GMT -5
Omi has five versions in the top 1000. All of them combined make it a pretty close race. I thought so too..... because last week too, the top 2 versions of CL accounted for 0.90-0.95 of CFMF, but in the end they both ended up selling the same amount. Also, I wanted to ask, do you assign same weight to all the days when calculating estimates? Because it seems to me that daily sales during Fri-Sun are higher than Mon-Thurs, even more so for songs that have been around for a long time. |
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Ravi
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Post by Ravi on Aug 22, 2015 1:17:51 GMT -5
Top-10 predictions: Rank
| Song
| Sales
| Airplay
| Streams
| Points
| 1
| Cheerleader
| 105
| 145
| 16.0
| 41,000
| 2
| Can't Feel My Face
| 110
| 160
| 13.5
| 40,200
| 3
| Watch Me
| 85
| 45
| 21.0
| 34,900
| 4
| Lean On
| 65
| 118
| 11.0
| 29.400
| 5
| The Hills
| 75
| 38
| 13.0
| 24,500
| 6
| Fight Song
| 90
| 92
| 7.0
| 24,500
| 7
| Good For You
| 70
| 80
| 8.0
| 22,700
| 8
| Trap Queen
| 30
| 30
| 14.0
| 21,000
| 9
| My Way
| 40
| 52
| 11.2
| 21,000
| 10
| Bad Blood
| 45
| 110
| 5.5
| 20,900
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* It will again be too close to call which will be #1. Streaming will again be the deciding factor. * Watch Me and Lean on have #3 and #4 locked respectively. Watch Me may hold on to #3 for a few more weeks. * Battle for #5 will again be very close this week between The Hills and Fight Song (last week, they were virtually tied in points). The Hills is gaining on Airplay whereas Fight Song is climbing on itunes. * Good For You should be good for #7. * #8-10 will be occupied by Trap Queen, My Way and Blad Blood in any order. Outside Top-10: * 679 will probably climb to #11. And if it can keep its momentum on streaming going, it might even break into Top-10. * #12-14 will be occupied by See You Again, Shut Up+Dance and Where Are U Now in any order. * Photograph and Cool For The Summer should hold on to #15 and #16 spots respectively. * Locked Away is definitely entering Top-20 this week, and will most likely be ranked #17, though it might come a spot or two higher if it has significant gains in streaming. I am calling a Top-10 entry next week. Can't Feel My Face will have a much bigger sales lead over Cheerleader than that. Cheerleader is at less than .85 of CFMF on iTunes right now and has been below .9 since the beginning of the tracking week. Not sure about much bigger..... maybe 10k max.... kworb estimates about 8k. On the other hand, Airplay gap will be smaller than I projected, maybe 10-12M, So those two deviations are compensated. CFMF will be around 1800-2000 points higher than CL on sales and airplay, so the steaming gap must be below 2M for CFMF to win the week (last week it was 2.5M). This is certainly possible, but I'd still give CL the upper hand. Next week however, I think CFMF has a great chance of getting back at top. Sales gap will be over 20k. |
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YourFaveIsAFlop
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Post by YourFaveIsAFlop on Aug 22, 2015 4:48:55 GMT -5
"West Coast" was sold 118,000 while "High by the beach" 67,000 and her follow-up "Terrence loves you" is nowhere to be seen as an iTunes chart topper.. sad to see that. Is her fan-base shrinking? It sold 67k in 3 days. west coast had a full week. And Terrence Loves You is top 10, high by the beach is back top 15 and the album is #1. She's doing fine. |
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Daniel Collins
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Post by Daniel Collins on Aug 22, 2015 6:54:19 GMT -5
2-day update (08/21/15 - 08/22/15)
1. THE WEEKND - Can't Feel My Face: 189.386 (- 0.354)
2. OMI - Cheerleader: 176.524 (- 0.787)
3. TAYLOR SWIFT - Bad Blood f/Kendrick Lamar: 138.025 (- 5.163)
4. MAJOR LAZER - Lean On f/MØ & DJ Snake: 135.189 (+ 4.091)
5. WALK THE MOON - Shut Up And Dance: 121.816 (- 2.344)
6. RACHEL PLATTEN - Fight Song: 113.741 (- 0.828)
7. ED SHEERAN - Photograph: 112.820 (+ 3.567)
8. SELENA GOMEZ - Good For You f/A$AP Rocky: 95.130 (+ 4.899) ▲
9. WIZ KHALIFA - See You Again f/Charlie Puth: 94.318 (- 3.703) ▼
10. SKRILLEX & DIPLO - Where Are U Now w/J. Bieber: 90.146 (- 0.020)
11. FALL OUT BOY - Uma Thurman: 86.725 (+ 1.309)
12. DEMI LOVATO - Cool For The Summer: 85.676 (+ 1.433) ▲
13. JASON DERULO - Want To Want Me: 84.813 (- 0.232) ▼
14. ANDY GRAMMER - Honey, I'm Good: 73.801 (- 2.118)
15. FIFTH HARMONY - Worth It f/Kid Ink: 70.065 (- 5.456)
16. R. CITY - Locked Away f/Adam Levine: 68.219 (+ 5.775) ▲
17. FRANKIE BALLARD - Young & Crazy: 66.376 (+ 0.576) ▼
18. FETTY WAP - My Way f/Monty: 64.831 (+ 0.247) ▲
19. SAM HUNT - House Party: 63.841 (+ 0.600) ▲
20. MARK RONSON - Uptown Funk f/Bruno Mars: 62.733 (- 2.336) ▼
DUSTIN LYNCH - Hell Of A Night: 59.748
THOMAS RHETT - Crash And Burn: 57.535 (+ 1.525)
THE WEEKND - The Hills: 49.312 (+ 4.557)
X AMBASSADORS - Renegades: 40.765 (+ 1.383)
CHARLIE PUTH - Marvin Gaye f/Meghan Trainor: 38.529 (+ 1.591)
MEEK MILL - All Eyes On You f/Minaj/Brown: 34.816 (- 0.026)
FLORIDA-GEORGIA LINE - Anything Goes: 33.675 (+ 0.705)
ONE DIRECTION - Drag Me Down: 30.841 (+ 1.474)
ZEDD - Beautiful Now f/Jon Bellion: 30.524 (+ 0.939)
5 SECONDS OF SUMMER - She's Kinda Hot: 30.435 (- 0.027)
JASON DERULO - Cheyenne: 30.065 (+ 0.672)
FETTY WAP-679 f/Remy Boyz...: 29.351 (+ 1.496)
HAILEE STEINFELD - Love Myself: 24.087 (+ 1.669)
SHAWN MENDES - Stitches: 22.226 (+ 1.718)
MACKLEMORE & RYAN LEWIS - Growing Up f/Ed Sheeran: 17.418 (+ 0.729)
MEGHAN TRAINOR - Like I'm Gonna Lose You: 17.313 (+ 0.961)
JANET JACKSON - No Sleeep: 17.164 (+ 0.140)
CALVIN HARRIS + DISCIPLES - How Deep Is Your Love: 15.749 (+ 0.937)
A GREAT BIG WORLD - Hold Each Other f/Futuristic: 15.372 (+ 0.579)
ALESSIA CARA - Here: 15.322 (+ 0.659)
CHRIS BROWN - Liquor: 13.352 (+ 0.566)
CARRIE UNDERWOOD - Smoke Break: 13.305
DRAKE - Back To Back: 13.050 (+ 0.162)
DISCLOSURE - Omen f/Sam Smith: 11.577 (- 0.281)
NICKY JAM - El Perdon (Forgiveness): 10.132 (+ 0.581)
RITA ORA - Body On Me f/Chris Brown: 5.546 (+ 0.758)
THE BAND PERRY - Live Forever: 3.527 (- 3.622)
NELLY - The Fix f/Jeremih: 3.213
NICK JONAS - Levels: 3.111
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Kworb
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Post by Kworb on Aug 22, 2015 8:40:07 GMT -5
Omi has five versions in the top 1000. All of them combined make it a pretty close race. I thought so too..... because last week too, the top 2 versions of CL accounted for 0.90-0.95 of CFMF, but in the end they both ended up selling the same amount. Also, I wanted to ask, do you assign same weight to all the days when calculating estimates? Because it seems to me that daily sales during Fri-Sun are higher than Mon-Thurs, even more so for songs that have been around for a long time. I adjust the weights every week after the real sales come in, but yeah the default ones that I use for the preliminary estimate assume more sales during the weekend, cause that's usually how it ends up. |
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