Comments on: Open Music Business Models: recap https://blog.p2pfoundation.net/open-music-business-models-recap/2006/11/01 Researching, documenting and promoting peer to peer practices Mon, 08 Sep 2014 08:38:38 +0000 hourly 1 https://wordpress.org/?v=5.5.15 By: Scott Carpenter https://blog.p2pfoundation.net/open-music-business-models-recap/2006/11/01/comment-page-1#comment-7011 Wed, 01 Nov 2006 02:39:17 +0000 http://blog.p2pfoundation.net/?p=578#comment-7011 s 5,000 fans, but is only paid out if/when it amounts to more than $1 (and a 5,000th of 33% of a thousandth of total ad revenue implies some big money changing hands before a fan sees a single buck). So, in this new <i>enlightened</i> deal: 1. The artist gets the break of a recording session (financed by the confidence of their fans) and 60% of publishing income. 2. The fan gets to pay in advance for a CD that everyone can later download for nothing, and 50% of revenue from sales of CDs (to those still buying them). 3. The publisher gets full rights to the music and near zero risk. Business as usual eh? </blockquote>]]> I’m interested in business models for free culture and remembered that Crosbie Fitch wrote about SellaBand a while back on his Digital Productions blog, so I dug up the URL:

http://www.digitalproductions.co.uk/index.php?id=39

He concluded:

The artist gets 60% of the publishing income – with none to the fan.

Any website advertising revenue is split equally with artists and fans, e.g. 33% to SellaBand, 33% to 1,000 artists, and 33% to each artist’s 5,000 fans, but is only paid out if/when it amounts to more than $1 (and a 5,000th of 33% of a thousandth of total ad revenue implies some big money changing hands before a fan sees a single buck).

So, in this new enlightened deal:

1. The artist gets the break of a recording session (financed by the confidence of their fans) and 60% of publishing income.
2. The fan gets to pay in advance for a CD that everyone can later download for nothing, and 50% of revenue from sales of CDs (to those still buying them).
3. The publisher gets full rights to the music and near zero risk.

Business as usual eh?

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