April 18, 2013Vol 2 Issue 1

www.soundexchange.com

In ThIs IssueRecoRd-Setting YeaR foR Soundexchange . . . . . . . 2

BackStage with anthonY hamilton . . . . . . . . . . . . . . 3

2012: a YeaR of gRowth in the inteRnet Radio muSic induStRY . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

the ongoing fight to SuppoRt the long teRm Value of muSic . . . . . . . . . . . . . . . . . . . . . . . 8

congReSS conSideRing contRoVeRSial “local Radio” ReSolution . . . . . . . . . . . . . . . . . . . . . . . . 9

JunioR’S muSt haVe geaR: the RetuRn of the Bowie. . . . . . . . . . . . . . . . . . . . . . . . . 11

Soundexchange connectS at SxSw. . . . . . . . . . . . . . . 14

newS & ReViewS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Sx eVentS calendaR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

follow us.like us.watch us.

2

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

RecoRd-seTTIng YeaR foR soundexchangeSoundexchange had a record-setting year once again in 2012 distributing

approximately $462 million directly to artists and labels. this includes the fourth

quarter distribution where the organization sent out more than 22,000

payments for approximately $134.9 million (a 10 percent rise from the third

quarter of the same year). in addition, the organization recently announced

its largest first quarter distribution, with $117 million paid to recording artists

and labels in Q1 2013.

“Soundexchange’s increasing annual royalty payments are

a positive indication of where the industry is heading. as

digital radio continues to grow, so should the amount that

performing artists and rights owners receive for the use

of their content,” said Soundexchange president michael

huppe. “our Q4 2012 distribution represents another record-

breaking year for Soundexchange, but more importantly, it

means more money in the pockets of the creators of music.

with Q1 2013 also now behind us we are optimistic about

the industry’s future. we look forward to maximizing digital

performance royalties for the people we serve and finding

new ways to propel the music industry forward.”

As digital radio continues to grow, so should the amount

that performing artists and rights

owners receive for the use of their content.

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

3

BacksTage wITh anThonY hamIlTonRecipes for success come in

many different forms in the

music industry. But when

you combine a charismatic

personality, a dynamic performer

and a killer voice you get a result

that is hard to beat: GRAMMY®

award winning R&B artist

anthony hamilton.

dressed casually in a dark gray henley with a colorful scarf and a black fedora,

hamilton was relaxed and in good spirits when he visited the Soundexchange

offices in washington, d.c. in february. in between his two sold out concerts at

the landmark howard theatre, hamilton took time out of his busy schedule to

stop by the Soundexchange offices and talk about his career, his family and what

it’s like to have his music featured in a motion picture.

from as early as childhood, anthony hamilton always knew he was going to

be a famous singer. as a child, he would listen to michael Jackson’s “Ben” on

repeat. in addition to his affinity for the king of pop’s first number one solo hit,

hamilton listened to gospel music and fell in love with country music along the

way. as he got older, he started listening to Bill withers and al green and his

love for music deepened.

Photo Credit: SoundExchange

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

4

hamilton notes his rise to fame in the music industry was long and

tumultuous. prior to getting his big break, hamilton had recorded

several songs but had yet to release even one single due to

countless rejections. not sure where to turn next, he was invited

to sing at a GRAMMY brunch in 2003. there, he was introduced

by the legendary isaac hayes and sang for a room full of

superstars including prince, alicia keys, kanye west and more. as

he describes it, “i sang like a maniac… i got a call the next day and

was pretty much signed on the spot.”

working with arista Records, the label took the songs hamilton

previously recorded and released them. the result, Comin’ from

Where I’m From (comprised of songs previously rejected), sold more

than 1.4 million copies and gave rise to his most successful single to date,

“charlene.” looking back on his earlier career struggles, hamilton says,

“You can believe in something and someone else can doubt it. But your

love and your passion that you put into it can surpass any blocks.”

fast forward to the present and you can find anthony hamilton’s song

“freedom” on the soundtrack for the academy-award® nominated film

Django Unchained. So how exactly did the song end up in a scene in the film

and on the official soundtrack? “[the song’s producers] sent it in for

[Django] and Quentin tarantino is a big fan of mine,” according to hamilton.

“once he heard it and i was a part of it… they felt that that song had

exactly what it took to make [the scene in the film].”

Photo Credit: SoundExchange

I sang like a maniac… I got a

call the next day and was

pretty much signed on the spot.

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

5

though not the first time a song by

hamilton had been featured in a film (he

took his whole family to see the 2007

denzel washington film American Gangster

when his song “Stone cold” was featured),

hamilton maintains that having your music

in movies is a big reward.

when he isn’t touring or recording music,

hamilton is playing another major role in his

life: being a father to six boys ranging in age

from eight months to 24 years old (including

two year old twins). while raising the little

ones, he is also fostering the creative careers

of his older sons. his eldest, a t-shirt designer, has designed merchandise for his

dad’s tours. another son, currently in college, is focusing his time and energy on

theater and music. hamilton likes to keep them involved to give them a taste of

the business.

when asked about Soundexchange, hamilton is incredibly appreciative. Speaking

to the staff directly he relates, “i know you all work hard every day. and we really

appreciate it as artists.”

for more on hamilton, be sure to check out his official website.

Photo Credit: SoundExchange

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

6

2012: a YeaR of gRowTh In The InTeRneT RadIo musIc IndusTRY2012 was an exciting time to watch the internet radio industry grow. from

significant increases in listenership to significant capital investments to growth in

advertising sales, it was a year that will shape the future of digital radio.

most notably, many reports show

that the internet radio audience is

growing. targetSpot’s digital audio

Benchmark and trend study shows

that internet radio listenership has

reached 42 percent of adults in

u.S. households with broadband

services—up 8 percent from a year

ago. furthermore, a november 2012

study of u.S. internet radio listeners

who submitted listening patterns

for prior three months found that

there was a 4 percent drop in am/

fm listeners, a 2 percent drop in

consumers who listened to digital

downloads, but an 18 percent

increase in on-demand music listening

and a 27 percent increase in internet

radio listenership.

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

7

in addition to growth in listenership, pricewaterhousecoopers, thomson

Reuters, and national Venture capital association (nVca) reported that

investments in music-related startups and companies were estimated

at $619.3 million in 2012. this figure represents a 34 percent increase

from 2011, compared to an overall 10 percent decrease in total financing

across all sectors. in particular, companies such as deezer and Spotify

received financing of $130 million and $100 million, respectively.

opportunities in online radio advertising sales are also promising. in

february 2013, the Radio advertising Bureau issued a report stating that

digital revenue for radio was up 11 percent in the fourth quarter and 8

percent in 2012 overall, compared to 2011. another targetSpot report

shows that online radio advertising is just finding its footing and shows

greater potential than traditional advertising avenues to target specific

audiences. Both ad recall and response rates are increasing—58 percent

recalled having seen or heard an internet radio ad within the last 30

days compared to 52 percent in 2011, and 44 percent responded to an

internet radio ad in some manner compared to 40 percent in 2011. erica

farber, president and ceo of the Radio advertising Bureau, notes that

“Revenue opportunities continue to grow for those who are pushing the

digital limits with online and mobile initiatives. as radio further defines

and focuses on monetizing their digital platforms and applications, we

will continue to see growth for radio in revenue and market share.”

internet radio has yet to realize its full potential. with a combination of increased

online radio listenership, investment, and the soon-to-be unlocked potential of online

advertising, the internet radio industry is surely set to explode in the coming years.

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

8

The ongoIng fIghT To suppoRT The long TeRm Value of musIcas Soundexchange wraps its first quarter in 2013, the organization is continuing

to press onward in the fight to preserve the long term value of music. the entire

team at Soundexchange is constantly advocating on the behalf of artists and

labels and working to move the music industry forward. as long as there are

issues worth fighting for, Soundexchange will be at the forefront leading the

charge.

the organization would like to take this opportunity to thank the many artists

and labels who responded to our call to action in the last edition of Soundbyte.

Soundexchange received hundreds of responses from individuals, groups and

labels around the music industry who are willing to lend their name to the

ongoing campaign to preserve the long term value of music. this support will be

invaluable in Soundexchange’s continuing efforts.

as 2013 progresses, keep an eye out for updates from Soundexchange as to the

organization’s continuing advocacy efforts. Rest assured that the organization is

fighting for each and every artist and label as they work to move music forward.

Visit www.fairpayforartists.com for the latest information.

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

9

congRess consIdeRIng conTRoVeRsIal “local RadIo” ResoluTIonthe so-called “local Radio freedom act” has surfaced again on capitol hill

and was recently introduced by Senators John Barrasso (R-wyoming) and heidi

heitkamp (d-north dakota) in the Senate, and by Representatives michael

conway (R-texas) and gene green (d-texas) in the house of

Representatives. Both resolutions would set forth that no new

performance fee, “tax”, royalty or other charge can be imposed on

local radio stations broadcasting sound recordings over-the-air.

Resolutions are generally non-binding congressional actions

about non-controversial matters. But this so-called “local Radio

freedom act” is very controversial. it is essentially a statement

of support for an unfair sweetheart deal for giant am/fm radio

conglomerates, allowing them to make millions in advertising

dollars by broadcasting hit songs without paying the musicians

and labels who made them a dime.

many still don’t know that a decades-old legal loophole exempts

am/fm radio companies from paying any royalties for the use

of sound recordings—an injustice Soundexchange is fighting to

end. working musicians need these royalties to make ends meet.

what the local Radio freedom act derisively calls “any new

performance fee, tax, royalty, or other charge” for playing

musicians’ work, we call rent, food and basic economic security.

musicFIRST Ad Featured in politico

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

10

Some members of congress may sign on to this resolution because it claims

to support and protect small “local” radio stations from the “severe economic

hardship” of paying for the music that they use. But, we know this to be false.

under the most recent performance rights bill, royalties for small broadcasters are

limited to as little as $100 per year. Big radio is simply hiding behind the banner of

small businesses in an attempt to avoid paying musicians a fair wage for their work.

Soundexchange president michael huppe recently wrote every member

of congress urging them to reject the radio resolution because it is so

fundamentally unfair:

“No other business in the U.S. claims they shouldn’t have to pay

for the raw materials they use - builders pay for lumber and bricks,

automobile manufacturers pay for steel and rubber, and terrestrial

radio should pay for music. This is particularly true when you

consider that AM/FM radio brings in more than $16.5 billion in

advertising dollars each year in large part off of the music they play.”

Besides Soundexchange, musicfiRSt—a coalition of artists and labels, of which

Soundexchange is a key member—has also taken the fight to congress, taking

out a full page ad in politico, the most widely-read publication on the hill:

“am/fm is the only kind of radio that doesn’t pay performers. it’s an anti-music

loophole from the days of vinyl and 8-tracks.”

this issue and other music licensing questions should remain high on congress’s

agenda this year. the new chairman of the house Judiciary committee has

promised a “series of hearings” on these questions.

Stay tuned and follow

@soundexchange and

@musicFIRST for the

latest news.

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

11

JunIoR’s musT haVe geaR: The ReTuRn of The BowIewith david Bowie’s surprise new album, The Next Day, released on march 12,

it seemed a good time to take a look at the gear that might be heard in the

mix. after all, Bowie, the famed “thin white duke,” has spanned genres

throughout his storied career. his works influenced a host of artists, in both

music and fashion. he began with straight-ahead Rock n’ Roll, as “davie Jones

& the king Bees” in 1964, and progressed through ‘70s glam Rock, ‘80s pop,

‘90s electronica, the layered ambience of the last decade, and a host of other

stops along the way. Bowie records encompass a wide assortment of interesting

instruments and equipment, exploring any number of sonic palettes.

the saucy Bowie (he turned 66 years old this past January), includes a variety

of exceptional sidemen in the new album, some of them rock stars in their own

right. the complete, 17-song deluxe album The Next Day features gerry leonard,

david torn, and frequent collaborator earl Slick, on guitars; gail ann dorsey and

tony levin on basses; and Sterling campbell and Zachary alford on drums. all are

highly regarded musicians (some having released their own solo recordings).

Ernie Ball Music Man Stingraygail ann dorsey’s favorite instrument when laying down complex bass grooves is

the famed music man Stingray, under the ernie Ball corporate umbrella. Some of

the main weapons in ms. dorsey’s arsenal are both four and five string models,

including two from the 1985 vintage. many rock and funk players appreciate the

american-made Stingray’s bright, growly tone, and thick midrange. the Stingray

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

12

sound, established by the classic design

with single, bridge-only humbucker and

active preamp, is often associated with ‘90s

rock, making prominent, compressed noise

on recordings by artists such as Rage against

the machine, Radiohead, Red hot chili

peppers and tool. But the popular bass, with

its simple design, narrow fret spacing and

fleet feel, has also appeared on recordings

by the cure, Jethro tull, Queen, and Sade

since its original manufacture in 1976. more

recent rockers, like disturbed, three days

grace, and avenged Sevenfold, have also

been known to use the Stingray.

http://www.music-man.com/instruments/basses/stingray.html

Chapman Stick ®the great bassist tony levin also returns for a few tracks on Bowie’s The Next

Day, having played on Bowie’s Heathen in 2002. Serious music listeners may

not only recognize mr. levin’s work with king crimson in the ‘80s and ‘90s, but

also on hundreds of recordings, including those by Buddy Rich, carly Simon, lou

Reed and Sarah mclachlan, not to mention solo albums on his own label, papa

Bear Records. aside from being a virtuoso on the bass, he was also an original

proponent of the chapman Stick (or simply “the Stick,” for the initiated). the

chapman Stick is an unusual, somewhat rarefied instrument, often described as

©2013 Ernie Ball, Inc. used with permission

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

13

a marriage of the electric bass and the electric guitar. emmett chapman, who

invented the Stick in the early ‘70s, is largely credited with establishing

the “free hands” tapping technique, where the player characteristically places

his/her strumming fingers perpendicular to the strings, rather than parallel, as

is more common among guitarists and bassists. the configuration of the unique

instrument also enables a proficient player to perform bass, melody and chords

simultaneously, not unlike a keyboard. the instrument itself is available from the

manufacturer directly, and all of the different varieties, from 8- to 12-string, list in

the $2,000-range.

NOTE:

Stick and Chapman Stick are

federally registered trademarks

of Stick Enterprises, Inc.

http://www.stick.com/

©2013 Stick Enterprises, Inc. used with permission

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

14

soundexchange connecTs aT sxswarmed with a list of the top unpaid recording

artists appearing at SxSw 2013, Soundexchange

connected with its largest unpaid artist not yet

registered with the organization at the festival.

after successfully reaching out to lecrae, 2013

Best gospel album GRAMMY® award winner

lecrae is now a full Soundexchange member and

will be receiving his royalties in the organization’s

next scheduled distribution.

If you are an artist and not yet registered with SoundExchange, visit www.soundexchange.com to register and become a member today.

Photo Credit: Kris Krug

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

15

news & ReVIewsCAROL CHANNING: LARGER THAN LIFEfor those ever bitten by the theatre bug, carol channing is either their

inspiration or their inspiration’s inspiration. dori Berinstein’s 2012 documentary

Carol Channing: Larger Than Life exposes the rise of this Broadway tour-de-

force. the documentary focuses on the past and present of this 90-year-old icon,

who remains widely revered for her performance of “diamonds are a girl’s Best

friend” in Gentlemen Prefer Blondes and her breakout role as the ever brazen

dolly levi in Hello, Dolly!

the film follows channing as she prepares to perform on stage for the first time

in 16 years with the ensemble of the 1994 Broadway revival of Hello, Dolly! with

the same expressive eyes and ear-to-ear grin that made her a household name

for more than 50 years, channing recounts a lifetime lived front and center.

the film touches upon channing’s childhood and sets the backdrop for the two

great loves of channing’s life—the stage and her most recent husband, harry

kullijian. after stepping onto an empty stage at age 7, channing immediately

knew she was walking on “hallowed ground.”

her illustrious career on the stage and on camera has left audiences swept up in

her stride and she admits that a life at center stage is often a selfish one. But her

innate warmth and resilience seen in each professional performance follows her

off stage. as she tells you a story in person or through the camera, you can’t help

but feel personally befriended.

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

16

the film spends a good portion of time documenting the rekindled love affair

between carol and harry. the two spent their middle school days lazing in first

love and although life sent them in different directions, harry came back into her

life 70 years later, and they picked up right where they left off. the camera aptly

captures their radiance.

though she has performed in the Broadway sensation Hello, Dolly! over

5,000 times, she does not take the privilege of immortalizing a role in one of

Broadway’s longest running shows for granted; the audience always comes first.

channing has been in the spotlight for decades and continues to shine with

hearty eloquence that has yet to be replicated by any other Broadway actor. She

is, and will always remain, our dolly.

José James: No Beginning No EndJosé James is the musician you want performing

at a stashed away jazz club you just happen to

stumble upon one evening by luck. whether it’s your

head bopping, your drink stirring, or your fingers

drumming, part of you is moving to his music.

James gained notoriety in the contemporary jazz world with his 2008 album The

Dreamer and his 2010 sophomore effort BlackMagic. But his most recent album

No Beginning No End (2012) weaves through Jazz, R&B and soul to create a

beautiful musical conglomeration where he emerges as one of the most pleasant

surprises of today’s music scene.

Photo Credit: Janette Beckman

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

17

No Beginning No End is a musical testament to the emotional uneasiness felt

by a man at a crossroads in his life. as James says in his Soundcloud profile,

“i love songs that are simple on the outside then go somewhere very unexpected

on the inside.” certain songs, including the opener “it’s all over Your Body,” lure

you in with harmonious whispers that trickle down your spine, then abruptly

transition with a rebellious funky thump from the hand drum in the following

track, “Sword + gun.” James sets No Beginning No End at soulfully slow pace,

but his collaborations with jazz pianist Robert glasper and frequently embedded

combinations of rhythmic punches from the horn section remind us of where he

started and will help keep his jazz purist fans faithful to his new sound.

José James switches tones and

sentiment throughout as No

Beginning No End strings different

genres together in deep self-

reflection. as with many artists,

there have been a variety of

musical influences on James that

highlight where he has been. No

Beginning No End is his way of

showing us where he wants to go.

Photo Credit: Janette Beckman

I love songs that are simple on the outside then go somewhere very

unexpected on the inside.

www.soundexchange.comApril 18, 2013Vol 2 Issue 1

sx eVenTs calendaRGRAMMYS® On the Hill Advocacy Dayapril 17–18, 2013 washington, dc

8th Annual ASCAP “I Create Music” EXPOapril 18–20, 2013 hollywood, ca

Music Biz 2013 featuring the Music Industry Metadata Summitmay 6–7, 2013 los angeles, ca $100 Off Discount Code: “se100”

SanFrancisco MusicTech Summit 2013may 28, 2013 San francisco, ca

World Creators Summit 2013June 4–5, 2013 washington, dc

New Music Seminar featuring the SoundExchange Digital Broadcasting SummitJune 9–11, 2013 new York, new York 25% Discount Code: “NMSSX13”

18