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I agree, im giving Zach some leeway in hoping he has plan on why he has been silent on the beta... if we dont hear anything after RHL opening I may began taken off my position and adding to other stocks that I like.
Was Rock House Live open today?
All this movement and we sill haven't:
Heard about funding
Heard about Beta
Should be a fun next few months!
Be patient with the funding, I work for a highly successful start up and we are in our Series A of funding, I has taken 3 months so far. The VC world says it takes 3o meetings to get 1 company on board.
My excitement is on the SAAS side,,,,
Once all these songs / data are collected there is going to need to be a Soundstr platform that business managers, record labels, agents, lawyers, artists subscribe to, to collect the data... they wont need the device but the DATA and software is where the big money. Im sure they have that ready for when the devices roll out.
They'll be collecting on both sides but there will be less overhead and more profit own the software side.
HAH tanking... Congrats on your first stock investment!
Im suprised there isn't as much volume/movement.... none the less great company!!!!
Should be an interesting end of the day with news just waiting to be sent to us.
And remember Live Nation, the world's largest concert promoter and venue holding company, owns Ticket Master!
Settlement against Sony Music: Our Product is needed as Songwriters get $crewed again:
https://www.foreignstreamsettlement.com/?utm_medium=M1_Text_&utm_source=LinkedIn&utm_campaign=Sony20
A settlement has been reached in a class action lawsuit over how Sony Music Entertainment (together with its unincorporated divisions and business units, its U.S. subsidiaries, affiliates, and joint ventures for which Sony Music Entertainment renders royalty accountings, and their respective predecessors, “SME”) calculated royalties for Class Members on the foreign streaming of sound recordings subject to agreements with those Class Members. The settlement is not an admission of wrongdoing by SME.
Wild there are only a few investors on this board. II believe this stock has the ability to change retail and security. could be a big winner. I only hold a small position but I'm excited about this companies potential.
Respectfully yes and no.
Taj will have to work his way up the level, At first he will be playin venues 500 - 1000 capacity and will most likely be guaranteed a rate of a bout 3k USD with some bonuses for sell outs and maybe making 1k per show in merch, on a great day. He will do this for a year or two before moving tot 5,000 capacity depending on how his album does.
Taj is no where he real money is, just yet.
Usual deal for an Artist at his level is a (+ Percentage Deal):(80 percent of what ever profit is on a sell out after venue expenses)
500 ppl @ $25= 12,500
Guarantee: $3000
Rent all in: $5000
Total: Expenses= $8000
$12,500 (assuming no taxes or facility / charity fees
- $8000 (rents and Guarantee)
= 4,500 profit
4500 in the pool
-2000 in venue expenses
2500 remained (80% to arist) = $2000
So taj would walk away with $3000 + $2000 = $5000
The Data with Soundstr is our money right now, Im 3 million shares in so believe me I want the best for this.
WHAT ARE MUSIC ROYALTIES????
Music royalties are payments that go to recording artists, songwriters, composers, publishers, and other copyright holders for the right to use their intellectual property. ...
Music Royalties are also generated for various types of licensing and usage. The four main royalty types include **mechanical**, **public performance**, **synchronization**, and **print music**.
The music industry relies on these royalties as a primary form of payment to musicians. Contracts then define royalty agreements between the creator and the distributor.
There are 4 sources of Royalty revenue
1 - **Mechanical:**
Mechanical royalties generate music income for the physical or digital reproduction and distribution of copyrighted works. This applies to all music formats such as vinyl, CD, cassette, digital downloads, and streaming services.
2 - **Synchronization Royalties:**
Better known as "Sync's". Sync licenses grant the right to use copyrighted songs in films, television, commercials, video games, online streaming, advertisements, music videos, and any other visual media.
3 - **Print:**
The least common form, The Copyright Holder receives fees based on the number of copies made of a printed piece.
4 - **Public Performance Royalties: OUR FOCUS WITH VNUE **********
Public performance royalties generate music income for copyrighted works performed, recorded, played, or streamed in public. This includes radio, television, bars, restaurants, clubs, live concerts, music streaming services, and anywhere else your music plays in public.
Performance Rights Organizations (PROs) collect performance royalties. PRO organizations such as [ASCAP](https://www.ascap.com/), [BMI](https://www.bmi.com/), and [SESAC](https://www.sesac.com/#!/) negotiate licenses for public performances and monitor their usage. They also collect and distribute the royalties generated to the rights holders.
To collect public performance royalties, you must first register with a Performance Rights Organization. Be aware, the songwriter and publisher of the work split these royalties 50/50. Therefore, you must register as both the writer and publisher to receive 100% of the performance royalties.
*This is where VNUE's "Soundstr" platform comes into play. More on that later first, let's learn about how royalties are calculated and the issue at hand.
**How Are Royalties Accounted for on the Retail/Commercial Side.**
Royalties are paid to composers and publishers and record labels for public performances of their music on vehicles such as the jukebox, stage, radio, or TV. Users of music need to obtain a "performing rights license" from music societies or PRO's. Performing rights extend both to live and recorded music played in such diverse areas as cafés, clubs, venues, malls... Literally, any place that plays music.
In the United States, SoundExchange, ASCAP, BMI (Broadcast Music, Inc) and SESAC (Society of European Stage Authors & Composers) are the four principal Performance Rights Organizations (PROs), although smaller societies exist. The royalty that is paid to the composer and publisher is determined by the method of assessment used by the PRO to gauge the use of the music, there being no external metrics as in mechanical royalties or the reporting system used in the UK.
Analog public performance royalties come from the Public Performance copyright, where the songwriter is owed money for each public performance of their songs. Under U.S. law, public performance occurs only when the music is played in a place open to the public with a substantial amount of people. AM and FM radio, network television, cable television, live gig venues, airplanes, retail stores, bars, restaurants, etc., generate and pay these royalties to songwriters.
**There is, however, no standard rate; Rates are negotiated between the Performing Rights Organization and the songwriter. The government can adjust unfair rates, though.**
There are many instances of PROs requesting fees from businesses who are taken by surprise by a collections letter. “I am constantly being billed by ASCAP and accruing late charges…” Is it legitimate? **Yes, ASCAP and other PROs definitely do ask for licensing fees, whether or not you are using music. They generally make the assumption that you are using music for overhead listening or on your telephone hold button.**
No matter how big or small your company may be, you will need to make a decision regarding music licensing for your phone-on-hold audio as well as music played in your space. The Palo Alto Area Bar Association article mentioned earlier says, “Small mom and pop stores, for whom legal advice may be prohibitively expensive, must then decide whether to pay the PROs or disregard the letter and possibly face a court action for copyright infringement,” and **“In view of the potential risks of an infringement lawsuit and the cost associated with litigation, which may run in the tens of thousands of dollars, the better course of action may be to enter into a licensing agreement with the PRO.”**
# **Pandora, iTunes And Other Illegal Ideas For Playing Music In Your Business**
A quick trip to the [Pandora terms of use page](https://www.pandora.com/legal) will tell you, *“…Pandora is for personal use only. That means you can’t play Pandora for the patrons in your bar, coffee shop, etc.”* There is a business version available, but it does not offer many of the most popular Pandora features.
Spotify and all other streaming platforms say it is **not for commercial use.** They are working on a commercial version, but even then it won’t cover the PRO licenses, saying in a web release, *“The performing rights must still be paid”.* Besides, the service isn’t available yet and there is no announced launch date.
Audio CDs or mp3s? Not legal, because you are still “performing” the music, for which there is a separate license fee on top of purchasing the audio (in any form).
Satellite radio is also not a legal use of music in your business. Again, the subscription to a satellite (SIRIUS/XM) is typically for personal–not business–use. Like other services, a business-only version is available for a higher price.
**Of course, you could simply do nothing. But after reading [this article about a business that was fined](https://www.techdirt.com/articles/20110815/11503015533/restaurant-owner-ordered-to-pay-bmi-30450-illegally-playing-four-unlicensed-songs.shtml) [$30,450 for playing four “illegally played songs” plus](http://www.wral.com/news/local/wral_investigates/story/9984679/) [$10,700 in legal fees](https://www.techdirt.com/articles/20110815/11503015533/restaurant-owner-ordered-to-pay-bmi-30450-illegally-playing-four-unlicensed-songs.shtml), you’ll probably think again.
Moral of the story for retail is that there is a monopoly on the transparency, in regards to what they play, how much they charge, and how that money is given up. It's modern-day extortion that is not easy to fight!!
**WHY IS IT AN ISSUE FOR THE ARTIST?**
A musician signed to a major indie label said they were owed up to $40,000 in song royalties they would never be able to collect. It wasn’t that they had missed out on payments for a single song — it was that they had missed out on payments for 70 songs, going back at least six years
The problem, they said, was metadata. In the music world, metadata most commonly refers to the song credits you see on services like Spotify or Apple Music, but it also includes all the underlying information tied to a released song or album, including titles, songwriter and producer names, the publisher(s), the record label, and more. That information needs to be synchronized across all kinds of industry databases to make sure that when you play a song, the right people are identified and paid. And often, they aren’t.
Metadata sounds like one of the most boring things in music. But as it turns out, it’s one of the most important, complex, and broken, leaving many musicians unable to get paid for their work. **“Every second that goes by and it’s not fixed, I’m dripping pennies,”** said the musician, who asked to remain anonymous because of “the repercussions of even mentioning that this type of thing happens.”
Entering the correct information about a song sounds like it should be easy enough, but metadata problems have plagued the music industry for decades. Not only are there no standards for how music metadata is collected or displayed, but there’s also no verifying the accuracy of a song’s metadata before it gets released, and there’s no one place where music metadata is stored. Instead, fractions of that data is kept in hundreds of different places across the world.
**As a result, the problem is way bigger than a name being misspelled when you click a song’s credits on Spotify. Missing, bad, or inconsistent song metadata is a crisis that has left, by some estimations, *billions* on the table that never gets paid to the artists who earned that money. And as the amount of music created and consumed continues to increase at a faster pace, it’s only going to get messier.**
There are multiple ways this process can go awry. The first is that, because there’s no standardized format for metadata, information often gets discarded or entered incorrectly as it’s written down or moved between people and databases.
You may get your data correct in your database,but if you don’t get the others’ 100 percent correct too, and if they don’t get yours, no one gets paid.
The musician who was owed $40,000 missed out because a glitch between two databases removed many of his credits. It wasn’t the musician’s fault, but too much time had gone by before anyone noticed. The companies involved declined to pay him.
“We take it for granted that we can look up movie or TV credits on IMDb and see everything, down to production assistants,” says Jackson, who recently hosted a standing-room-only panel on metadata at the [Music Biz 2019](https://musicbiz.org/) conference in Nashville. “But the changes to music metadata and the standards are so slow.”
ATTEMPTS TO CREATE A GLOBAL CENTRALIZED DATABASE FOR SONG METADATA HAVE ALWAYS ENDED IN FAILURE
**IN COMES SOUNDSTR:** DETAILS OF VNUE IN A SEPARATE THREAD
**Soundstr is a tablet which connects directly to an audio system, identifies music performances, songs, covers, and can broadcast advertisements.Soundstr Pulse is backed by Gracenote’s best-in-class music recognition technology. Gracenote maintains the world’s largest music library.**
### SONGWRITERS
Our data can help you route tours, promote upcoming releases and discover the places playing your music – allowing you to find your fans in real life.
### VENUES
Soundstr ID helps businesses pay fairer music license fees based on actual music usage, and make more money through a patent-pending advertising system.
### PROS
Soundstr can help performing rights organizations accurately pay songwriters when their songs are played in licensed businesses.
### BRANDS
Soundstr Ad connects brands to consumers at live music events like never before. We use the power of data to help align you with highly engaged audiences.
Would be my honor, Ill start preproduction tomorrow and have your routing and itineraries (fact sheet) sometime this week
https://promusicrights.com/news/billboard-charting-songwriter-and-recording-artist-og-maco-signs-with-pro-music-rights/134135916932018011723
Pro Music Rights repertoire includes works that feature such notable acts as Snoop Dog A$AP Rocky, Wiz Khalifa, Pharrell, Young Jeezy, Julez Santana, Lil’ Yachty, the late Nipsey Hussle & Countless more.
These are big names but respectively not relevant names (besides Pharrell but he hasn't put anything out in a while... If this was 10 years ago yes all of these guys would be trending. We need a fresh new artist to jump on to start the FOMO "Fear of missing out" and start the trend.
Without details, it's hard to guess what the deal is but from my Music Business experience; I would think the deal is:
Exclusive rights to the recording of live shows, manufacturing of the live audio for resale, potentially handling the merch sales, as what VNUE does is interconnected, unless the artist has a merch deal already but I doubt he does since he hasn't started touring. And potentially getting him over to PMR for access to his streaming rights.
It's not a groundbreaking deal, as the artist is not touring, but it's the first step in signing more artists and locking in contracts for future reVNUE, aside from the SoundStr platform.
In my opinion, VNUE should do listening agreements with Venues to have the camera/technology in place for every show/artist .. they would lose a percentage of the deal(split between venue/artists and VNUE) but would start locking up the market.
From my many years as a Tour Manager for artists, I can tell you this; the Music Biz follows the trends... If one big artist signs on, the rest will want in for fear of missing out once one big names jump in; its off to the races.
Another channel of ReVNUE!
https://www.mediabrief.com/radio-veteran-john-madison-vnues-soundstr/
Wasn't sure if this article was posted, so I figured id post.
1 week remaining in the 3rd quarter.
Well if that doesn't give confidence in the company I don't know what would....
Updating daily on youtube to build a relationship with his holders and team.
Im in 100%
I would suggest you all follow the teams on Linkedin to give there profile more awareness. omre followers on here gives there company more traction:
https://www.linkedin.com/company/soundstr/about/
https://www.linkedin.com/company/vnue/
Just so you know Mark Cuban is probably fully aware of this product.
I found this...
Cincy Tech and Cuban invest in Genetesis:
‘Shark Tank’ billionaire Mark Cuban adds to investment in Cincinnati firm - May 2020 Biz Journals
Genetesis, a Mason startup that’s developing a medical imaging device that could benefit patients with heart problems, raised $7.5 million in a Series A round of funding from a group of investors that includes CincyTech and billionaire Mark Cuban of the TV show “Shark Tank.”
Cincy Tech is invested in SoundStr:
In May, Soundstr was awarded an initial investment from CincyTech, which the startup used to launch the production of its tablet-like devices. -May 2016 Cincninati Business Courier
Cuban and Zach Bair have made deals in the past
For many years, Zach Bair has been a fixture in the music technology space, first with his company Immediatek, which sold to Shark Tank's Mark Cuban in 2006;
Here is a good read on a problem VNUE and SoundStr will be solving.
https://www.digitalmusicnews.com/2020/08/31/artist-rights-alliance-secretive-agreements/
No worries at all, Im in the music business so I'm geeking out a little bit! :)
Well, Shazaam for instance cant pick up live music well, most of the music apps have song recognition in the options but it rarely works in live music. If Vnue has a 98% success rate that is huge for artists because they will get their correct song royalties but also the music app would take them to the artist's song. Apple, Amazon, Tidal, etc would want that software in their platform.
Huge piece that is being missed here...
If VNUE can find the algorithm to accurately track LIVE music... the licensing of that software to every single music app would be MASSIVE alone!
This is a needed tool in the music industry......
I have spent 20 years in the music business as a Tour Manager and most recently as a Business Manager for Touring....
Our royalties department was the most difficult position (next to taxes) because there is no way to verify the correct amount of money is being dispersed correctly to the artist, and PRO's are nontransparent.
If BETA testing shows positive results, think about it... anytime you hear music there is an artist that should be compensated. In a store, in a dance studio, at a concert, in a bar, in a restaurant, radio stations, theme parks, and the list is never-ending, would need this product!!
MASSIVE POTENTIAL HERE!!
Good Article: The industry is starting to recognize the gem we have here.
https://microcapdaily.com/the-exciting-story-of-vnue-inc-otcmkts-vnue/127747/