Interview With Dae Bogan, CEO of Music Rights Administration Platform TuneRegistry
October 26, 2018 | Interviews
Dae Bogan is a music rights executive, serial entrepreneur and educator with over a decade of experience in the music industry.
He is the founder and CEO of TuneRegistry, which develops music rights administration software and solutions for small and medium-sized music rights-holders. He also offers music rights, business, and technology consulting through his firm, Rights Department.
Previously, Dae owned and operated an independent record company (Loft24 Records), a music publishing company (Loft24 Publishing), and an artist management company (Renaissance Artist Management) until 2012 when he founded an in-store independent music video network (Maven Promo), which was later acquired by EMPIRE Distribution in 2017.
Dae also founded the world’s first aggregator and search engine of unclaimed music royalties (RoyaltyClaim), which was acquired by HAAWK in 2017.
Uptown Plug had the opportunity of speaking to Dae about launching TuneRegistry, music rights for artists, common publishing mistakes, success in the music industry and plenty more!
1) Could you give us an overview of how TuneRegistry works with artists?
TuneRegistry is a catalog management, music rights administration, and metadata delivery platform.
We make it easy to setup your catalog once, then register rights ownership to virtually all U.S. music rights organizations and deliver metadata to the top music metadata suppliers in the world that power features in popular digital music services, mobile apps, audio devices, and smart speakers.
With our “one stop shop” approach, small to medium-sized rights-holders and DIY music creators save time, lower costs, and reduce errors and omissions associated with traditional administration processes. And, you keep 100% ownership of your copyrights and 100% of your royalties.
2) What motivated you to launch the platform?
I became an artist manager over 10 years ago at the end of my senior year at UCLA (where I now develop and teach a Billboard “Top Music Business Schools of 2017” class on music industry entrepreneurship and innovation at the UCLA Herb Alpert School of Music).
It was an exciting and uncertain time in my life that kicked off what has become an amazing journey in music business.
When I figured out that I needed a software to help me complete music publishing tasks with or on behalf of my self-published artists, there was nothing feasible on the market.
At the time, music publishing software was developed for big publishing companies. And it was expensive. As a consequence, some things simply did not get done.
We did not have reliable and useful access to tools and we were not made aware of everything that needed to get done. I created a checklist, but it was still quite limited.
Seven years later, I earned a Master of Artists degree in Music Industry Administration at California State University Northridge with a focus in Music Publishing and Copyright Administration.
I was under the mentorship of Steve Winogradsky, a highly respected music and copyright attorney who literally wrote the book that’s used by professors across the country to teach this stuff.
In my last quarter of grad school, in 2015, I conceptualized what is now TuneRegistry. It is amazing to see artist managers and other music industry professionals using TuneRegistry to improve the financial outcomes for their artists (as well as self-managed artists doing the same for themselves).
10 years ago, I needed an easy-to-use, cloud-based tool to help me collect, organize, manage, and administer the music rights for my self-published artists. When I later founded an indie label and indie music publishing company, I also needed a good platform for managing a growing catalog.
TuneRegistry makes this all possible for the cost of two Starbucks coffees per month.
3) What do you think is the biggest problem for artists regarding music rights?
A combination of misinformation, a complex music licensing ecosystem, the under-representation of DIY musicians, and inequitable access to resources are all factors.
The music industry evolves independently of copyright law, but it is tethered to the laws nonetheless.
Copyright law shapes the framework of the music industry, but economics and business interests is the engine that decides who and how artists will make a living (save for the income streams dictated by rate courts and the Copyright Royalty Board, which is a different conversation).
Artists have to be masters at their craft and experts in music rights if they truly want to improve outputs from the music industry, regardless of their career level.
The work we’re doing at TuneRegistry aims to empower artists with knowledge and resources to navigate this industry on their own terms, quite literally.
4) What mistakes do you see independent artists make when it comes to their publishing?
The most frequent mistake is more of an oversight. When artists upload music to digital music services such as Spotify and Apple Music, they often do not register their music with the music rights organizations that actually collect 100% of the artist’s music publishing income.
Therefore, some artists are leaving 100% of their publishing income on the table. The other mistake is not submitting set lists to performing rights organizations when they play live shows.
Artists (or their managers) must get in the habit of “reporting” to music rights organizations that their music and shows exist, so they can get paid all of the income that they have earned.
5) If you had 3 tips for independent artists to have success in the music industry, what would it be?
First and foremost, listen to your fans. While I am passionate about music creators’ rights, I entered this industry as an artist. I will always be an artist at heart.
Therefore, music comes first. Create music that ignites reactions. Engage with your fans and take their feedback into account.
Lastly, take the word “business” in music business seriously. When you put music out into the world, it’s important to understand how to extract value.
6) What’s next for TuneRegistry?
I am excited about several upcoming product updates and releases that we have planned.
Currently, we already enable music creators and rightsholders to self-administer their U.S. music rights through TuneRegistry. And recently, we launched TuneRegistry for Enterprise to power the music rights administration departments of companies with catalogs of up to 100,000 songs.
We are now looking at how we can help DIY musicians and small to medium-sized rightsholders unlock more of the royalties that their music earns around the globe.
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