Aaron Steinberg, Esq.

Entertainment Attorney in Nashville. Sad Ohio sports fan.

[Aaron Steinberg, Esq. @steinbergesq]

Music rights twitter: version 2.0 of the music rightsholder flow chart is below and more convoluted than ever! Based on feedback, I added neighboring rights, included general revenue sources, sync/master-use, and made a few other tweaks. What else should I change or add?

[Tyler Bank @tylerbankmusic]

Don’t turn your tv off @kendricklamar is about to perform

[Aaron Steinberg, Esq. @steinbergesq]

Ohio-based up and coming artists tap in — I want to help — send that music over

[Aaron Steinberg, Esq. @steinbergesq]

Self-published artists register with MLC for US mechanical royalties (streaming/downloads) and ASCAP/BMI for public performance royalties (radio/bars/live shows/streaming).

Indie artists also like to leave SoundExchange (recording monies from SiriusXM/Pandora) on the table too.

[Z @BrianZisook]

A surprising number of artists overlook or completely ignore their publishing. If you’ve been releasing music for over three years and generating consistent streams, not taking action is basically giving money away.

[Aaron Steinberg, Esq. @steinbergesq]

@esqfowlkes Bet on yourself

[Aaron Steinberg, Esq. @steinbergesq]

Music royalties are complicated…it’s important to understand where your recording and/or pub royalties are coming from. Version 3.0 of the below is coming soon…hit me with questions or changes you want to see.

[Aaron Steinberg, Esq. @steinbergesq]

Music rights twitter: version 2.0 of the music rightsholder flow chart is below and more convoluted than ever! Based on feedback, I added neighboring rights, included general revenue sources, sync/master-use, and made a few other tweaks. What else should I change or add?

[Aaron Steinberg, Esq. @steinbergesq]

@esqfowlkes A “take-it or leave it” deal

[Aaron Steinberg, Esq. @steinbergesq]

@acfreedmanlaw At very least hopefully consumers get more transparency into ticket prices. Would also like to learn more about why Ticketmaster has so much difficulty preventing “bots” from buying up tickets.

[Aaron Steinberg, Esq. @steinbergesq]

@acfreedmanlaw ♻️

[Aaron Steinberg, Esq. @steinbergesq]

Feeling lucky to do what I do. Being a music attorney gives me the opportunity every day to work with inspiring and creative people…and I also still get to nerd out in the nitty gritty haha 🤓

[Aaron Steinberg, Esq. @steinbergesq]

My lawyerly MusicRow debut 🙏

[MusicRow Magazine @MusicRow]

Jason Saenz Signs JV Publishing Deal With Demolition Music & Gravity Gone Music https://t.co/JTWmUqJoXJ

[Aaron Steinberg, Esq. @steinbergesq]

& too inefficient?

[billboard @billboard]

The Music Business Has a Lawyer Problem: Too Many Clients, Too Many Deals & Too Much Paperwork https://t.co/8zhEu1O0Dp

[Aaron Steinberg, Esq. @steinbergesq]

@MarkJKings @brianmcbrearty And who gets the publishing 🤔

[Aaron Steinberg, Esq. @steinbergesq]

My note about tokenized rights management is published. Read it here: https://t.co/RCscsubYBt

[Aaron Steinberg, Esq. @steinbergesq]

It was selected for publication 👀

[Aaron Steinberg, Esq. @steinbergesq]

@holdmycoat Correct and fast royalty payments alone would be impressive ha

[Aaron Steinberg, Esq. @steinbergesq]

@acfreedmanlaw Congrats man

[Aaron Steinberg, Esq. @steinbergesq]

@esqfowlkes should users be paying more or DSPs?

[Aaron Steinberg, Esq. @steinbergesq]

@RuncieDan Metadata disparities

[Aaron Steinberg, Esq. @steinbergesq]

@marktavern Timeliness alone can go a long way

[Aaron Steinberg, Esq. @steinbergesq]

@MarkJKings @AndrewDhuey If an artist or writer sells a catalogue containing rights he or she already reclaimed under to 304 or 203, can they reclaim again under 203?

[Cincinnati Bengals @Bengals]

🗣️ IT’S TIME TO SAY WHO DEY!