So difficult)Do you like this system?
That made me laugh ! I don’t think I have ever heard anybody at least in the U.S. say, “I love taxes! I can’t wait until April so I can pay more!”
That said, the quality of my daily life is directly impacted by things like food safety, public security, well maintained roads, utilities, etc. etc. etc. Although there are certain things I’d prefer my state and federal government would spend less or more on, and it’s not perfect by any means, overall it’s a pretty good deal.
That depends on a huge number of variables, how you’re reporting, how much you’ve made, where you live, etc.
For myself, I have a day job as well as stock income, which puts me into a higher tax bracket than if I were doing stock income alone. I also live in Oregon, which tacks on 9% on top of the federal tax, and also in my district there is a metro tax which is another small percentage. If I lived down the street in Multnomah County, I would owe yet another local tax. There’s also property tax that I owe because I own a house, and these vary from district to district as well.
At the federal level there are other payroll taxes that I’m subject to for my day job, whereas there’s self employment tax for the income I report on Schedule C. However, I can write off certain things (equipment for my music business, mortgage interest for the house, any money I put in a 401(k) or traditional IRA, and so on).
At a pretty gross estimate, I would say that for my music income I’m paying around 35-40% in taxes. But again, that’s mainly because the income from my day job propels all my music earnings into a higher tax bracket. If my only income were stock music, I’d be paying far less of a percentage of it.
Yes. It’s an extremely bad idea to not pay taxes on your earnings in the US.
Stockwaves saidTo deal with this I’ve uploaded my tracks to my own YouTube channel so I would know if somebody else register them in a Content ID system
If I don’t register my tracks with AdRev, ultimately someone else will – in their name.
So you mean wait until a copyright claim appears on your videos? If so, yes that could work I suppose. But still a lot of hassle and then you have all the long winded red tape to go through to get it removed, etc.. All to appease a handful of entitled customers. I’ll take the hit thanks.
If anyone is interested in the exact hassle, here is an example taken from an actual experience:
1. Paying Customer contacts you that his YouTube video got flagged with a copyright notice indicating your song.
2. Through a series of emails the customer sends you some extended information. “[Some Song Title You’ve Never Heard Of]” sound recording administered by [some music distributor].
3. You let Paying Customer know that you’re on it (even though you have no freaking idea of what to do at this point) and that you’ll keep him informed.
4. You track down the song, and find that somebody has taken your track, sung some lyrics over it, renamed it, and submitted it to [some music distributor].
5. So, you track down the people who posted it (if you’re lucky) and send them a note to ask to remove the song. OR, you just go straight to step 6.
6. You create a DMCA notice, make sure you’ve got all the legal text exactly correct.
7. You look up [some music distributor]’s site, figure out who to send it to, and send it along.
8. If you’re lucky and there are no challenges, within a few weeks you’ll get the song removed. Problem solved! Until the next time it happens.
Note that until step 8, the parties that preempted your track are making money off of your song being used in YouTube videos created by your paying customers. Also note that steps 1-8 can span far more than than 24-96 hours.
Just trying to reiterate here that although I absolutely respect and understand authors who are declaring that their tracks are AdRev free, there are no guarantees at all that their customers will never get a 3rd party copyright notice. It just means that when it happens it will be far more difficult on both the author and the customer to deal with.
Fortunately for me, the three times this has happened to me (I may be currently experiencing a fourth, BTW – I’m waiting to hear back from a customer whether it’s my non-AdRev submitted song that’s causing his notice), the parties who pre-empted my songs didn’t know they were doing anything wrong and were generally cooperative. I only needed to actually submit a DMCA once.
In any case, this is just too much hassle. I know it seems like we’re beating a dead horse with all these AdRev threads lately, but I am grateful for all the discussions on this difficult issue – I feel like it’s slowly guiding me to making a decision one way or another.
Sorry, but it still looks broken. This is an https URL – is it possible you’re only seeing it because you’re logged into dropbox or the share is only visible to you? You could try PhotoBucket if dropbox isn’t working out.
I’m curious as well about what kind of solution we’re imagining here, actually, and I’m not trying to be facetious in any way, but really don’t know what to do myself. In a way it was a lot easier when there were no checks at all on illegal use – at least that way I could throw my hands up and say “what are you gonna do?”
I respect the decision of Sky and others who are swearing off AdRev, but although the great majority of my tunes are also AdRev free (I have a handful up on Audiam as a trial) I don’t think I could guarantee that I would never eventually submit them. Honestly, I think the real solution is for YouTube to provide a better experience for people who have valid licenses, dealing with it on the front end rather than the presumed guilty approach which is frankly pretty threatening.
As for the “song and dance,” we are musicians after all… But seriously, we’re not making up the illegal usage issue. For instance:
- I did a google search just now on my profile name and found several sites listing my songs for download without my permission. Just about anybody on AJ with any number of sales can probably do the same.
- The 3 songs I’ve received reports on from Audiam clearly yielded hundreds of illegal uses in a month. I have probably about 500 songs for sale under various profiles and sites – extrapolating that the illegal use is actually quite staggering
- Worse, and sorry to harp on this in yet another thread, I’ve had others digitally fingerprint my works, and paying clients have been dinged for copyright violations of those people’s “works.” This is the main reason I’m considering using Audiam or AdRev’s service for all of my tunes. To repeat myself from elsewhere – unwinding these situations are far and away worse for me and my paying clients than the usually less than 24 hours it’s taken me to clear songs through Audiam.
To break it down (for the non-exclusive case):
- Song price = 18.00
- Buyer’s Fee (20% of the song price) = 3.60
- Song price – Buyer’s Fee = 14.40
- Author’s Commission (36% of the song price) = 6.48
- Author’s Fee (44% of the song price) = 7.92
There’s also quite a few forum threads in the Notices from the last few months on the changes that it might make sense to catch up on.
I’ll start by saying I have no clue . But I’m glad you posted this, because literally I had never even thought of doing something like it and now I’m curious. There appear to be a couple of places that allow you to publish and sell your sheet music online (didn’t want to post links even though I’m pretty sure these aren’t competitors, but just googling “where to publish sheet music” brings them up).
Also, you may want to check out a self publisher for books, like lulu.com. I have used them before for a novel and was pretty happy with the service. I haven’t tried publishing sheet music, but it looks like other authors have if you browse through their for sale section.
Just curious – what software are you using to transcribe your music (or are you doing it by hand :))?
Antonio, I think you’ve described all of 2014 to me! Outside of the music scene, I’ve had a lot of stuff go on this year – all good, but time, money and energy sucks. We went through a big home remodel that was supposed to be 10-14 days and missed that mark by 6 months, complete with a bulldozer in the front yard for most of that time. We started becoming a laughing stock in the neighborhood, and when they finally came to take it away, a crowd formed and there was applause.
Anyway, even though I have a much better studio space now my energy level at the end of the day, after work, family and walking the dog, has not been there for a while. I’m really proud of some of the stuff I’ve done this year from a composition and production standpoint, but I know it’s hardly commercial as much of it is introspective guitar work. I just haven’t had the heart for much ukulele and have not whistled into a mic for a long long time.
I agree as well that it can sometimes be discouraging when some of your colleagues are so accomplished and versatile. Maybe discouraged is not the right word, but I’m still learning as I go and continue to be humbled by the talent that is appearing here daily.
I think Matt touched on a few things that I’m experiencing as well. The first couple of years of stock were a complete blast for me, and I had slim idea of what I was doing but didn’t care so much – it was just so much fun to be making music and getting paid for it! But lately I think it isn’t music that I’m burned out on, but the fact that it’s always stock music. I really do enjoy it – don’t get me wrong. However, I think that I may need to force myself to take a step back into other kinds of composition and recording, e.g. maybe in 2015 I should finally try to create an album complete with lyrics and get it up on Spotify et. al. I haven’t done this since I started back in the studio because it feels like opportunity cost, but maybe it’s a necessary step to taking production to another level, and just keeping my head in the game.
Anyway, interesting thread! It’s sometimes good to hear that you’re not the only one experiencing a lull