MUSIC DISTRIBUTION
DO IT Records is distributed via a subsidiary of Sony Music, thus gaining the benefits of major label distribution, whilst retaining our independence as a label. DO IT Records has global distribution in 242 countries and territories, basically everywhere in the world but Antarctica, we sell music.
We have established partnerships with the top online and mobile retailers, music aggregators, entertainment agencies and multimedia distributors from around the globe—and we are expanding our distribution database on a daily basis to ensure that your audio masters are being delivered to listeners, viewers and industry professionals in as many territories and on as many platforms as possible around the globe. Unlike other label’s that may only submit your music to a handful of retailers DO IT Records will assure that your masters will be made available, accessible, searchable and beheld by consumers throughout the world.
Through the years, we have developed significant outreach programs to thousands of industry partners—including sub-licensees, music supervisors for film and TV, advertising and commercial agencies, synch brokers, monetization brokers, sub-publishers, video game licensees, broadcasters, performance rights organizations, distributors, retailers, production libraries, other labels and more. We may be able to secure overseas master use licensing deals with various regional distribution companies and we qualify emerging online and mobile outlets on a daily basis. In addition, our international mobile Telecom database is growing every year, for both mobile download and streaming services.
We were one of the first to integrate digital and physical distribution, recognizing the importance of distributing across all channels and formats—all with superior asset management protocol. Whether it’s a full length on iTunes and Amazon, a stream on Deezer and Rhapsody, an MPL placement for film and TV, a UGC track and CiD on YouTube or a ringtone through Nokia and Telefonica, we supply hundreds of outlets around the world through our proprietary Delivery & Operations Database (DOD). We’ve distributed music products through every imaginable channel: music stores, gift shops, big box retailers, wholesalers, TV, Internet and mobile. Most importantly, we pride ourselves on keeping abreast of the ever-changing entertainment landscape: technology, social media, hardware, legal rulings, RIAA, distributors, collection agencies, labels, artists, music trends and more.
Below are some of the retailers we currently supply material to:
121 Music Store, 3 Mobile, 3 Suisse, 3355 Music, 7 Digital, A1, Ahlens, AGI, Aki Musica – Telefonica, Akoo, Alfa, Aliant, AllTel, Altacom, altoran, Amalgam Digital, Amazon, amex.ztorm.net, AMI, Antena 3 TV, Antena Madrid, Anycall land, Astral, Atento-O2-Telefonica, ATT, B3, Batelco, Beatport, Beeline, Beezik, Bell Mobility, Bell, Bell365, Bellbada.com, Bellsori Chingu, Bengans, Best Buy, Bilka, Billboard, BITÈ, Blinko, Blue Pie, Book & Life, Boost, Bouyges Telecom, Brisas, Buddy, Bugs, Buongiorno, Buongiorno/Mobivillage, Canal Sur TV, CDON, CDSkiven, Cell South, CellFish, Centennial PR, Charity Tunes, Chess, Chin Chin Free, China Mobile, China Telecom, China Unicom, Chin-Lin, CHUM, Cincinnati Bell, City Magazine, Citymarket, Classical.com, Club cyon, Club5678, Conpia, Conrad, Contexta.Antena 3 TV, Cool & Style.com, Cowon.com, Cricket, Cultureland, cyoworld japan, Cyworld, D&shop, Dada, Dajoom, Data.bg, Daum, Deezer, Digioke, Digital Reggae, Dio, Discogs, Dj, D-jix, DMX, DNA Mobile, DNA, Dosirak, DPlatinum, Drei, DU, Ebay.es, eCast, e-home, Ekstrabladet, El Giganten, Emo, Emodio, EMT, eMusic, EnNyBog, Entel, ERA, Ericsson, Euskal Telebista, Exact Mobile, Ex-Libris, Expert, Ez-i, Ezio, Flaixbac radio, Flamesky, FlyCell, FNAC, France Telecom, Freechal, Freenet, Fun game, Funman, G Market, G-Pop, Galaxie, Galaxy, Gaja i, Getmore.dk, GF38, ginzadownloads, Global, Globetrotter, gmx.de, Gom, Google, GP, Groove, Grupo Godo, Grupo Vocento, Grupo Z, GS caltex, GS retail, H3G, Halebop, Hanafos, Hanaro Dream, Happli, Happy Money, HD Tracks, Hesburger, Hilo Musical, Hip Digital, Hiphop Playa, Hits-Yunitel, HMV Digital, Home Phone Tunes, HomeEntertainment.com, Hoodiny, Hot, IC Agency, IDT, iHeart, iMBC, iMesh, Impartmaint, iMusic, IMVU, iNavi, Insound, Internet Bookshop, iPop, iSky, iTunes, Jamba, Jamster, Jingo, Jooce.com, JunketBoy, Juno, Jyllandsposten, Kang, KBND card, KBS, KDDI, Korea.com, KT ann, KTF Multi Pack, KTF Show, La Curacao, La Mediatheque, La Redoute, La Sexta TV, Label Mobile, Latitunes, LG telecom070, LimeWire, Lol Song, Los 40 Principales, Lumo, LYD, M game, M1, M6, Maco, MagixMusic, Maroc Telecom, Mbop, Médi Télécom, Media World Compra online, Mediadis, MediaMarkt, Medianet, Medion, Meditel, Megamobile.paran.com, Megapass Zone, Melon, Meteli.net, Meteor, Metro PCS, MeWe, Mi Pais Orange, Mi pais Telefonica, Midwest, MiPais Vodafone, Mix’n’Burn, Mixaloo, Mixmobile, Mnet.com, Mobile G Host, mobileshop, mobilkom, Mobily, MOG, Mokey, Moneyro, Moodmedia, Moox, Motorload.de, Movilisto, Movistar, MP Greek, Mp3.de, mpack, MSN, MTC, MTN, MTV, Mufin, Müller, Museeka, Music Airport, Music BOX TMN, Music Choice, Music Lover, Music on, Music To Go, Music.jp, Musicload, MusicMe, Musikiilaatamo, Musiwave, Music Yun China, Muz, My Country, My Freesport, My Kids Tunes, MySource Telia, Myxer, Napster Mobile, Napster, Nate on messanger, nate.com, Natta España, Natta.Pt, Naver music, Naver, NAWRAS, Naxos, Nectar, Neo-Numerique, NetAnttila, Netcom, Netville, NiceMusic, Noble Music, Nokia Music, Nokia, nowdio.de, NRJ, Ntelos, NTT DoCoMo, O2, OD2, Ohdio.com, Ok cashbag, Olemovil,, OMAN MOBILE, Omnifone, Omnitel, Onet, Orange BE, Orange, OVI, Pandora, Pannon/Telenor, Paran.com, PartyMobile, Pasaj, Passionato, Phonomonkey, Pixbox, Platekompaniet, Play.com, Playlist, Play Network, PlayNowArena, Playphone, PLEJER, Poetics, Politiken, Polkomtel, Punto TV, Puppyred, Puretracks, Q Tel via AiwaGulf, Qobuz, R&D Media, R. Galician Operator, Rawrip, Real Networks, Reggae Country, Rhapsody, Rhythm Records, Rogers, Rue du Commerce, Sabafone, Sagem, Samsung funbox, Samsung Media Studio, sas.ztorm.net, Sasktel, Saturn, Sayclub, SBSi, SendMe Mobile, SFR, Shockhound, Shop2Download, SHOW, SI Mobile, Simfy, SiriusXM, Skivhugget, Skivlagret, Sky sms, Skybell, skymms, Slacker, SOK, Sol Musica, SonyBMG, SonyEriksson, S-Phone, Spotify, Sprint, Stade De, Starfish, Starzik, Stingray, STC, Stofa, Stone Radio, SunCom, Surem, Swisscom, Synacor, T town, TDC Mobile, TDC Music, Tele 2, Tele 5, Telecom Italia, Telefonica, Telemadrid, Televerkko Oy, Telia, Telus Mobility, Telus, Tesco, The Source Mobile, Theta, Thinkindie, Thomson DE, Thumbplay, Thumbtribe, Ting bell, Tiscali IT, TMN, Portugal Telecom, T-Mobile, TNZ, Todo Lo Ultimo, Tonlist, Top 2, Touchtunes, Trackitdown.net, T-town, Tunes, TVC, UC story, Umniah, Univision, Urban Amplified, US Cellular, Verizon, versatel.de, Verve Life, via Bharti/MST, via I-connect, Vibramovel, Vibramovil, Viettel, Virgin Mobile, Virgin, Vitality, Viva, Vocento, Vodafone via Esal, Vodafone, Walmart, Wanadoo, Wataniya, Wax, Way media, WE7, web.de, Weltbild, Western, Wind, Word Entertainment, Xpointo Media, Yahoo!, Yahoo, Yemen Mobile, Yes 24, Yoigo, You See, Zain, and many more!
SYNCHRONIZATION
Through the years, DO IT Records has meticulously fostered affiliations with the largest synchronization aggregators in the world and we also work with a multitude of independent sync agents, brokers, music supervisors, film editors and production music libraries. Music “sync” licensing is time intensive work, yet when your music is finally placed, it not only generates significant revenue, it also champions the word about your brand, artists and creative talent.
DO IT Records manage your sync rights portfolio & your performance rights for all global broadcasts. Since the use of music in film, TV, video and webcast is not covered by the compulsory license provisions of the Copyright Act, sync licenses for these uses must be negotiated on an individual basis with each broadcast affiliate.
Your Music Should Be in the Movies!: Have you ever wondered if your music could be licensed for film, TV, commercials and advertisements? Well, it should be, and DO IT Records can help! Through the years, we have meticulously fostered relationships with the largest synchronization aggregators and music licensing services in the world, and we also work with a multitude of independent sync agents, brokers, music supervisors and film editors. In addition, we have an executive enterprise relationship with Rumblefish, the leading synchronization & monetization aggregator for YouTube and the Internet.
What Is Synchronization?: Music licensing for film, TV, video and webcast production involves two aspects of copyright law: synchronization rights and performance rights. Performance Rights come into play when a production is shown to the public, typically via broadcast or cablecast. Performance rights are primarily of concern to film distributors and TV and cable stations. Synchronization, or “sync” rights, in contrast, is involved whenever recorded music is used in combination with visual images in a production. DO IT Records manages both your Performance Rights and Sync Rights portfolio for any and all broadcasts. Since the use of music in film, TV, video and webcast is not covered by the compulsory license provisions of the Copyright Act, sync licenses for these uses must be negotiated on an individual basis with each broadcast affiliate.
PLAYLIST / COMPILATIONS
DO IT Records specializes in Album Playlist or Compilations. We have a dedicated product development and A&R team that works directly with our label partners to ensure that the sound recording compilations are of the highest quality. Compilations provide “pathways” for consumers to discover and embrace the work of new and even established artists. For instance, when an artist is part of a targeted album compilation, then the artist is exposed to 10x the potential consumer base, because as many as 10 different artists might be embodied on the compilation.
How?: Playlist/Compilation products can be challenging to assemble because the production company that releases the comp must secure permission from all of the parties involved. This can mean juggling demands of a long list of publishers, labels and musicians, who sometimes have divergent interests. This fact is true even of single-artist compilation albums for artists who have worked with more than one label over the course of their career. In addition, there are graphic design work, metadata consistency, UPCs, quality control, audio level consistency, promotions and more.
Why?: Compilations serve a purpose—especially now, during this digital era. Compilations provide “pathways” for consumers to discover and embrace the work of new and even established artists. For instance, with a 10-artist targeted album compilation, each artist is exposed to 10x the potential consumer base as with a single-artist album. Some of those artists might have a larger fan base as well, increasing the potential fan base exponentially. In addition, when an artist is discovered on a compilation, then the consumer can easily discover the artist’s original albums—whereas this form of album promotion and discovery would never have happened without the compilation!
Common Types of Playlist/Compilations:
Greatest Hits, Best Of or Singles collection albums—These are comps that gather together an artist’s or a group’s best-known songs. If the artist or group continues to record, compilers commonly include one or more previously unreleased tracks as an incentive for fans to buy the album, even if they already have the other material on the compilation.
Single-Artist, Rarities or B-Side collections: These are albums compiled from radio sessions, songs performed by an artist exclusively for a film soundtrack or collections that combine multiple releases. Such compilations generally target existing fans of the artist and have diminished mainstream appeal.
Various Artist-Themed compilations: These compilations could be love songs, Christmas songs, etc. featuring a particular instrument (such as saxophone or piano), and countless other variations.
Various Genre-Themed compilations: e.g. jazz, synth-pop, rock, etc. These might be from the same time period (year, decade or era, for example), or incorporate a common theme.
Various Artist Hit compilations: This has been a very successful part of the album market since the early 1970s. Hit singles are gathered together on one compilation.
Promotional compilations or samplers: These are creative, successful forms of promotion for artists and/or record labels to promote their music.
Private Label promotional compilations: Promotional compilation CDs can be private labeled for products, retail outlets, commercial organizations or non-profit organizations. Some artists and labels like to co-brand themselves with well-known brands for marketing purposes, and transversely, well-known brands like to co-brand themselves with artists.
Composer/Producer albums: Many hip-hop and reggaeton producers will release a compilation album that features various artists, but with each track composed by the same producer.
LICENSING
GLOBAL LICENSING AND SUB-LICENSING
For most music content owners, recording artists and songwriters, initial success comes from activity within their respective territory or country. Downloads, digital radio, television, Internet performances, album sales (both physical sales and downloads), sync licenses for songs in films, television, video games, and advertising commercials are the typical applications. All of these methods and channels can generate royalties—sometimes large, as in the case of a hit song, good-selling compilation album or television theme, and other times minimal, as in the case of a webcast performance or small one-time usages.
But what happens when your audio recording or song is licensed by a licensee in a foreign territory—say, in Taiwan, Ireland, South Africa, USA or any other country of the world for that matter? How will royalties be collected, and by whom? What do you have to do to get paid? Those are the questions you need answers to when dealing with any activity in the foreign marketplace. The good news is that DO IT Records partners specializes in Global Sub-Licensing.
Your Complete Distribution Portfolio: Global Sub-Licensing is often ignored, yet it is one of the more important services we offer and helps round out our Complete Label Portfolio. Each territory has its own procedures, policies and laws governing the licensing, performance and sale of music in its territory—and this affects how to license your music abroad. In addition, every country has its own collection societies for the negotiation, collection and distribution of performance and mechanical monies—for both copyright owners and writer and publishing registrants. These foreign collection societies and organizations have payment rules very different from those in your territory or in the U.S.—in addition to sometimes taking significant deductions from royalties of master owners, writers and publishers prior to statements and payments. Some of these societies are very transparent, whereas others are not.
Our Foreign Collection Society Partners: DO IT Records collects on Global Sub-Licensing efforts in two ways: a) Master Use Licensing and b) Performance Royalties. DO IT Records partners negotiate Master Use licenses for the usage of the master sound recording. In addition, we will also register and collect royalties for the public broadcast performances of both your master and your original songs! Though most songwriters receive modest or little royalties for their songs performed outside the U.S., successful writers can make millions of dollars over the life of a song for foreign country performances and sales. To give an example of the type of monies being collected, in 2009 over $600 million was forwarded to ASCAP, BMI and SESAC for foreign performances of U.S. works. Most of the money is writer money as many publishers collect their money directly from each foreign collection society. As to individual activity, a major worldwide hit song can generate well over $1,000,000 in foreign radio and television performance monies, with a blockbuster feature film generating in excess of $500,000 composer royalties for foreign theatrical (movie theatre) performances alone during the initial year of activity. Putting these high-end figures aside, it is important to know that tens of thousands of U.S. copyright owners, writers and publishers receive between $1 and $100,000 in foreign royalties each year for performances of their works on radio and television stations, live performances and website transmissions, among many other types of uses.
RADIO AIRPLAY
DO IT Records have established enterprise relationships with most of the top internet, mobile, satellite and cable broadcast providers in the world. Other music companies attempt to deliver music to only a portion of the major radio broadcasting database. Yet from day one, our business development team has been solidifying partnerships with major radio broadcasters, brokers and agents. We provide a complete broadcasting package including Pandora, SiriusXM, iRadio and more!
To provide a complete radio streaming ingestion service, a label cannot rely solely on automation because many of the top broadcasters such as Pandora, SiriusXM, and even in-store media broadcasters like Mood Media, Stingray, Music Choice & Play Network, do not accept automated submissions. They accept only manual submissions. In many instances, such as with Pandora and SiriusXM, they still want hard copy CDs sent to them. And in those situations our ingestion team will actually burn CDs on your behalf and mail them to such providers—all at no extra charge! That’s right! Get plugged in the right way!
Radio Airplay Goes Digital: Over the past 5 years, we’ve witnessed a significant increase in digital radio broadcasts. This increase is triggered by new hardware, new DMS providers, consumer preferences and emerging territories. As a result, our Label Partner’s broadcast royalties have steadily increased, yet it has not been “a snap of the fingers”. Each broadcaster, whether it’s Pandora, Sirius XM, Spotify, iRadio, Deezer or Beats Music, requires proper content protocol, A&R expertise, meticulous metadata management, and insightful territory know-how! Our Radio Ingestion Team listens and hand-assembles every master we receive to ensure that each track is delivered with 100% effectiveness. It’s time to get your music assets prepared for the future. Soon, Digital Radio royalties will surpass both digital album downloads and digital track downloads.
The Emerging Streaming Radio Marketplace: DO IT Records has established relationships with all of the top Internet, mobile, satellite and cable broadcast providers. Revenues generated by master performance radio streams are increasing every day. For instance, Internet radio is now responsible for nearly 80% of listening hours. In addition, nearly 70% of digital radio usage now comes from the mobile market. This type of usage is not just from smart phones. You can access many internet radio brands from hundreds of different devices, including cars, countertop devices, alarm clocks, apps and more. In addition, apps have been the single largest growth driver for Internet radio in the past few years and the phenomenon has a lot of room for growth. Substantial engineering efforts have been put forth by all the major Internet, mobile and satellite radio companies to bring the service to hundreds of different devices.