DISTRIBUTION

Digital

The major attraction for digital distribution is its direct nature. To make a commercially successful work, artists usually must enter their industry’s publishing chain. Publishers help artists advertise, fund and distribute their work to retail outlets. In some industries, particularly video games, artists find themselves bound to publishers, and in many cases unable to make the content they want; the publisher might not think it will profit well. This can quickly lead to the standardisation of the content and to the stifling of new, considerably risky ideas.

By opting for digital distribution, an artist can get their work into the public sphere of interest easily with potentially minimum business overheads. This often leads to cheaper goods for the consumer and increased profits for the artists, as well as increased artistic freedom.

Digital distribution also opens the door to new business models. For instance, an artist could release one track from an album or one chapter from a book at a time instead of waiting for them all to be completed. This either gives them a cash boost to help continue or warns that their work is not financially viable before they have sunk excessive money and time into it. Video games have increased flexibility in this area, demonstrated by micro-payment models such as the one in Gunbound. A clear result of these new models is their accessibility to smaller artists or artist teams who do not have the time, funds, or expertise to make a new product in one go.

An example of this can be found in the music industry. Indie artists are for the first time able to access the same distribution channels as major record labels, with none of the restrictive practices or inflated manufacturing costs; there are a growing collection of 'internet labels' that offer distribution to unsigned or independent artists directly to online music stores, and in some cases marketing and promotion services.

Shops in our distribution network. Example:-

etc.

Physical

Our own distribution network starts within a short period. We have had bad experiences with a series of partner distribution companies who do nothing in getting your ware into the major shops yet claim a half of the retail price. You end up with no sales and highly debited for returned products. Our philosophy is either a major distributor like Sony/BMG , Universal, Warner Music or not. And that’s no problem so long as an artist is at his or her best performance and busy, we either license the product or make distribution deals for respective products/ Artists / Masters. We have decided to do it this way, and it functions quite well and cheaper for all.

Online Physical

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PUBLISHING

Our company makes sure your music is published and made public for the media. We already have hundreds of songs and titles in nearly all genres ready for anyone who might be intrested. We take care of your Mechanical copyright and performance revenue registration like Gema, Ascap, GVL, etc.

There is an advantage in having your song published by a publishing company as they are in a position to deal your songs to other media companies like TV, Movies, Commercials and so on.

The business is diverse and demands a variety of skills. These range from the ability to spot writing talent and original music that is likely to appeal to an audience, to ensuring that all uses of music are properly licensed and paid for. Music publishers play a vital role in the development of new music and in taking care of the business side, allowing composers and songwriters to concentrate on their creative work.

The role of a music publisher involves:

• Finding new and talented songwriters and composers and encouraging and supporting them as they develop their skills, whether through helping with their living expenses, providing them with the facilities they need to produce music or offering advice and guidance in writing for particular markets;

• Securing commissions for new works and helping to coordinate work flow;

• Registering the works of songwriters and composers with all appropriate collecting societies and agencies, such as PRSMCPS,GEMA, ASCAP, BIEM etc.

• Producing performance materials (score and parts) and demonstration recordings;

• Producing and licensing the production of printed music;

• Preparing promotional materials, including sampler CD's, study scores, etc;

• Promoting composers and songwriters to performers, broadcasters, record companies and others who use music on a commercial basis;

• Licensing the use of music;

• Monitoring and tracking the use of the music they own and ensuring that proper payment is made for all licensed uses;

• Making royalty payments to songwriters and composers in respect of the usage of their music;

• Taking appropriate action against anyone using music without the necessary license;

The business of music publishing is dependent upon there being a strong copyright framework in place. The control of copyright enables a publisher to recover the investment made in songwriters and composers and to ensure that they are rewarded for their creative work. Without copyright there would be no financial incentive for music publishers to invest in composers and musical works. This would be to the detriment of composers who depend upon publishers to manage the business of exploiting musical works and administering royalty payments.

The relationship between a music publisher and a songwriter/composer is supported by a publishing contract setting out the rights and obligations of each to the other. Under these contracts songwriters and composers assign the copyright in their music to the music publisher in return for a commitment to promote, exploit and protect that music. The publisher agrees to pay the songwriter/composer a percentage of any income earned from such exploitation as royalties.