Fair shares in a click — music rights at a glance.
The sound recording
Master rights represent the ownership of a song’s sound recording — a unique version recorded by artists in the studio or on stage.
The master side gives you access to a stream of passive income tied to the commercial performances of the recording. Each time the recording generates revenue from album sales, streaming, licenses & sync deals, investors receive a portion of its associated royalties.
Streaming
Revenues generated by people listening to music on streaming platforms around the world such as Spotify, Apple Music, Youtube Music, Amazon Music, Deezer, Soundcloud, Qobuz...
Downloads
Revenues generated by the purchase of tracks/files on platforms such as iTunes, Bandcamp or Beatport.
Physical sales
Revenues generated by the purchase of physical media such as CDs, vinyles and cassettes.
Sync
Revenues generated by licensing contracts for the use of the song in audiovisual content such as movies (feature and short films), TV shows and commercials.
The sound composition
Publishing rights represent the ownership of a song’s composition — the intellectual property behind the melody, harmony and lyrics of the musical work.
Publishing gives you access to a stream of passive income tied to the commercial use of a song’s composition that can have one, or multiple recorded versions.
Each time the composition generates revenue from TV / radio use, live performances, streaming and sync deals, investors receive a portion of its associated royalties.
Broadcast medias
The so-called “Audiovisual Media” exploitations include Television & Radio.
For Television, these are the rights collected from public, private, cable/satellite, Internet & DTT television channels when the work is reproduced.
For Radio, these are the rights collected from national radio stations in the public, private and network sectors (Skyrock), as well as from local private radio stations and the “Groupement des Indépendants” when the work is reproduced.
Recorded materials & multimedia
The so-called “Recorded & Multimedia Media” exploitations include Phonograms, Videograms, and Video Games.
For Phonograms, these are the rights collected when the work is reproduced on CDs, vinyls or cassettes.
For Videograms, these are the rights collected when the work is reproduced on DVD or Blu-ray for different categories of audiovisual works (films, series, documentaries, concert recordings, etc.).
For video games, these are the rights collected when the work is reproduced on multimedia media such as game consoles and/or their CDs.
Internet
The so-called “Internet” exploitations include streaming, web radio and VOD, as well as online podcasts & corporate films, online video games and pay-per-view live-streams.
For streaming, these are the rights collected when a work is reproduced by online music services and international download platforms such as Spotify, iTunes, YouTube, Amazon, Apple Music, Dailymotion, etc.
For Web Radios, these are the royalties collected from national online music services such as Web radios, sites that enable the downloading or listening of musical works.
For VoD, these are rights collected from Video on Demand and Subscription Video on Demand platforms.
Live music
The so-called “Live music” exploitations include Concerts, Shows, Artists tours as well as Balls with orchestras.
Copyrights are collected from show organizers, tour operators and all permanent establishments when the work is reproduced.
Clubs & Bars
The so-called “Clubs & Bars” exploitations refers to copyrights collected from operators of clubs, organizers of mobile clubs and operators of bars with musical atmosphere.
Background music
The so-called “Background music” exploitations refer to copyrights collected from public places that use, to sound, works reproduced on sound media or music programs provided by any specialized company.
Private copying
The so-called “Private copying exploitations refer to the remuneration for sound and audiovisual private copying collected by the company “Copie France” from manufacturers and importers of analog and digital recording media allowing the copying of works.
Cinemas
The so-called “Cinemas” exploitations refer to copyrights collected from the Broadcasting of films, or Retransmission of concerts and shows in cinemas.
International exploitations
“Foreign exploitations” refer to copyrights for works exploited in foreign territories and collected by SACEM's sister companies.
Our valuation method
The appraised value of music assets is determined hand-in-hand with the creators using 50+ qualified data points, and a proprietary thesis.
Fair valuations of songs & catalogs as listed on Bolero are based on a rigorous methodology combining quantitative as well as qualitative key data points.
For the benefit of investors and creators, Bolero analyses historical royalty data, markets trends, creators’ popularity while simultaneously leveraging AI predictive tools to best anticipate the commercial trajectory of an asset.
Our thorough analyses are critical in order to ensure a fair price for investors while safeguarding the true value of music as perceived by their creators.
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