[technofiend]

From the article he's dedicating marketers to synch rather than mechanicals. I quoted the explanation of all three revenue streams for people like myself who don't automatically know which is which.

With Hipgnosis Songs Fund, Mercuriadis bypassed all of them. Songwriters are able to generate revenue from three sources: mechanical royalties (the sale or legal download of a song), performance royalties (paid every time a song is heard in public, whether it’s a live performance, on TV, or in a movie; played in a bar or restaurant; or streamed), and synch fees (song licensing for use in movies, video games, and commercials). Mechanical royalties are the only stream with a set rate; performance and synch royalties are negotiated percentages. Synchs are often more lucrative for the songwriter, since they generally split 50% for the writer and the artist, with the label taking its cut from the artist’s piece of the pie. Synch is where Hipgnosis Song Fund could make them money, as Mercuriadis explained to the 177 hedge fund and private investors he pitched between 2015 and 2018.

[ancientworldnow]

For people curious about synch rates, a friend just licensed the music (not performance) to an unknown song for promos for a major streaming production with A listers for $8000 on a two month license. This was with the assistance of an entertainment lawyer.

Of course every case is unique.

[djmobley]

Sounds like this is all the money being poured into television and film content by Netflix/Amazon/Apple etc. trickling down.

[SyneRyder]

On the flipside, we now have Discovery Channel refusing to use music with sync licensing costs (ie licensed through ASCAP, BMI) and demanding composers sign away their royalties if they want their music on the show:

https://variety.com/2019/music/news/discovery-networks-compo...