This project is collecting information from a diverse set of US-based musicians about the ways that they are currently generating income from their compositions, performances, recordings or brand, and whether this has changed over the past ten years. read more
FMC is employing a three-step research process; in-person interviews with a small but diverse number of musicians in 2010-11; a review of financial records of some musicians; and a widely distributed online survey in fall 2011. We feel that this multi-method approach will help us to get the best snapshot of different musicians’ income streams and create a more robust and meaningful report. read more
You may recall a blog post from back in October 2009, called The 29 Streams. In it, we attempted to enumerate all the possible revenue streams available to today’s musicians – from traditional CD sales to performance royalties to merchandise to synch licenses and more. read more
Washington, D.C.— Continuing a decade of work in understanding and improving conditions for musicians, national nonprofit organization Future of Music Coalition has launched the Artist Revenue Streams project (ARS), which seeks to gather crucial information about the ways U.S. artists are currently generating income from their music or performances, and whether this has changed over the past ten years. The project is funded in part by a two-year grant from the Doris Duke Charitable Foundation, with additional support from YouTube. read more
Here at FMC, we tend to think a lot about changing business models for musicians. Certainly, many artists are still making the majority of their money from selling CDs, merch or playing gigs. Yet we’ve come to realize that musicians’ access to potential revenue — especially in today’s digital landscape — expands far beyond that.
Recently, FMC started ponder all this in a more organized fashion: just how many different ways are there for musicians to earn money? We’ve come up with 29 so far, which we list below.
It’s the end of copyright era! Or so you would think if you had been listening to the majority position at the three Internet music conferences we attended last winter. What does that mean for the artists and musicians who stand to lose mechanical royalties as a revenue source? Nothing good.