We are excited about our upcoming version 4 release of DashBook! As publishers stop paying high monthly fees for their old royalty accounting systems and switch to the powerful and more affordable DashBook, we have been getting an increasing interest in moving all of their pre-existing information to DashBook.
Way back in DashBook version 1, we included the ability to import contacts from your Outlook database, and we also imported complete information from older systems that small publishers used, like AnyBook. We continued enhancements to include the ability to import contact information from csv files and the old PUB123/JAYA123 systems with our version 2 update, I believe.
In version 3, we broke into whole new territory with our creation of Sales Report Import. By including a user-extensible system that came preloaded with the ability to easily import sales reports from Lightning Source, Fictionwise, Apple iTunes, MidPoint Trade, and many other book sellers and distributors, DashBook opened up to a new level of customer who loved this automation. Gone were the days of typing in orders!
Well, version 4 will be extending that slightly by adding import for Ingram reports (and yes, we handle just about all book distributors and a growing list of music sellers and distributors), but the big extension is the ability to import nearly anything. This was a requirement to migrate historic data from large older systems like Bookworks, Acumen, and Cat's Pajamas.
If you can get your data into text reports, DashBook will be able to move this information into a new DashBook database so that you can efficiently transition from your prior system, even if it is just spreadsheets, to DashBook. And of course, DashBook still uses an open database system that does not lock up your data from your own reporting tools or desire to move away from DashBook at your whim. (of course, we'd rather keep growing and improving DashBook to better serve you!)
If you have existing inventory, sales, royalty, or other information for your books, music, etc., let us help you get started in using DashBook today.
Friday, February 5, 2010
Thursday, February 4, 2010
Music royalties for publishers and artists (percentage of sale price)
Two blog entries ago, I wrote an article about using DashBook for U.S. mechanical rights interest calculations. With a little setup, DashBook makes this calculation automatic as you continue to sell, even if the rates change.
This time, I'll briefly discuss a very similar feature now -- the ability to specify a royalty on a track as a percentage of the sale amount. By setting up the royalty agreement as a percentage of the sale price, typically of net sales, DashBook will calculate the royalties using this percentage each time that this track is directly sold.
But what if the album is sold?
Well, DashBook now has the ability to use the price of the album (gross or net) divided by the number of tracks on that album -- automatically!
To see how to enter album products that contain tracks, I recommend that previous post.
There is one more thing about handling music or other royalties that I don't recall writing about: advances and recoupments. That'll be the subject of a future article, but feel free to email us if you'd like to know more about it now.
And don't forget that you can download a free trial of DashBook here.
This time, I'll briefly discuss a very similar feature now -- the ability to specify a royalty on a track as a percentage of the sale amount. By setting up the royalty agreement as a percentage of the sale price, typically of net sales, DashBook will calculate the royalties using this percentage each time that this track is directly sold.
But what if the album is sold?
Well, DashBook now has the ability to use the price of the album (gross or net) divided by the number of tracks on that album -- automatically!
To see how to enter album products that contain tracks, I recommend that previous post.
There is one more thing about handling music or other royalties that I don't recall writing about: advances and recoupments. That'll be the subject of a future article, but feel free to email us if you'd like to know more about it now.
And don't forget that you can download a free trial of DashBook here.
Wednesday, January 20, 2010
Amazon Kindle vs Apple for eBooks. Is an Apple eReader app coming?
The big news today is that Amazon will be offering 70% net royalties for Kindle sales soon. (press release) This announcement is just one day after the Wall Street Journal reported that Apple is working with HarperCollins to bring their eBooks to the iTunes store (WSJ article)
Since Amazon is currently only paying 30%, it looks like they are concerned about Apple. Amazon has other competition paying up to 80%, but that didn't cause them to blink. I suspect that they've known for a while that they would have to raise the rate, and had this plan in the drawer awaiting the need.
But what is Apple going to do? Obviously they will be selling eBooks through their iTunes store for buying and reading on iPod and iPhone devices. Most people expect Apple to introduce a tablet device on the 27th, with assumptions that this device will be running the same operating system as the iPod/iPhone. However, there is a strong possibility that they will be upgrading this from the current version 3.1.2.
Would Apple include an eReader from Apple or HarperCollins? Since the introduction of OS version 3 last year, users could purchase content while within the application. Amazon's Kindle app has yet to take advantage of this feature. But if Apple preloads an eReader onto every new device plus all current devices via an update, they could easily overtake Amazon's sales for books read on the Apple handheld platform.
Apple enjoys selling music, apps (some of which are eBooks), and videos on their iTunes network, but they get no rewards from current book sales from Amazon, even though these books may be read using the iPhone Kindle reader. When Apple provides books on iTunes, they'll take a cut from those sales. Surely they'll want to funnel as much buying to their own iTunes eBooks as possible, and having their own eReader would do just that.
Since Amazon is currently only paying 30%, it looks like they are concerned about Apple. Amazon has other competition paying up to 80%, but that didn't cause them to blink. I suspect that they've known for a while that they would have to raise the rate, and had this plan in the drawer awaiting the need.
But what is Apple going to do? Obviously they will be selling eBooks through their iTunes store for buying and reading on iPod and iPhone devices. Most people expect Apple to introduce a tablet device on the 27th, with assumptions that this device will be running the same operating system as the iPod/iPhone. However, there is a strong possibility that they will be upgrading this from the current version 3.1.2.
Would Apple include an eReader from Apple or HarperCollins? Since the introduction of OS version 3 last year, users could purchase content while within the application. Amazon's Kindle app has yet to take advantage of this feature. But if Apple preloads an eReader onto every new device plus all current devices via an update, they could easily overtake Amazon's sales for books read on the Apple handheld platform.
Apple enjoys selling music, apps (some of which are eBooks), and videos on their iTunes network, but they get no rewards from current book sales from Amazon, even though these books may be read using the iPhone Kindle reader. When Apple provides books on iTunes, they'll take a cut from those sales. Surely they'll want to funnel as much buying to their own iTunes eBooks as possible, and having their own eReader would do just that.
Monday, December 14, 2009
Music mechanical royalties for publishers and artists
Calculating music royalties can get to be a very large task, as there are many little things that need to be handled. If an album is sold, a royalty for not just the album but for each track needs to be calculated. Many people think that a song pays 9.1 cents in mechanical royalties, but that is an over-simplification. If the song is longer than 5 minutes, the rate is higher. If it is sold in a different year, the rate may be different, because this rate goes up over time.
DashBook makes it easy to calculate the statutory U.S. mechanical royalties on music, and to handle sales of both individual tracks and entire albums, whether they be physical sales or electronic downloads.
Here is one common scenario. I'll explain how to use DashBook to calculate mechanical fees owed to artists or publishers.
First, I recommend adding or changing the Product Types to include "tracks" and "albums" so that you can easily distinguish them later. (Setup->Products->Types) When you are on the product screen, you can set the product type to tracks or albums.
If an album has 13 tracks, create each track as a product in DashBook, specify the track or song length on the Measurements tab, and add anyone needing to be paid as authors for this track. A common retail price for a track is $0.99, so go ahead and use that. Now hit the Apply to save these changes, then click the Royalties tab on the first page of the product. If you press the "New" hyperlink, a new royalty will be created with this track and the next author not having an existing royalty agreement. Choose Mechanical Royalties, and type in 100% in the percentage field. Of course, you can choose 50% or any other ratio. Press OK to save these changes, and Apply on the product, and repeat for each track. DashBook has a royalty agreement copy feature, but this method is very easy. Oh, it might be a good idea to choose the non-stocking warehouse for the default for tracks, since you won't be interested in maintaining inventory.
After you have all 13 tracks defined as products, create one more product for the album itself. On the Components tab, simply select the tracks belonging to this album. If we are only concerned about mechanical rights, then this product does not need a royalty and the author/contributor column isn't necessary as well.
Now when you create an order that indicates the number of each track and album sold or downloaded, the royalties will calculate automatically. If the mechanical rate changes in the future, a simple update to DashBook (automatic internet download) will have the future rates updated with no changes required by the user. In fact, if you wish to input CD sale dates from 5 years ago, you'll notice that DashBook will use an older and smaller mechanical fee. Automatically.
Speaking of automatic, you don't actually have to enter the sales manually. For instance, you can create a customer called Apple, and ask DashBook to import your iTunes csv reports that you download from your iTunes account. (File->Import Sales Reports->iTunes) When importing reports for sales occurring in other countries, simply enter the currency conversion rate. DashBook will create the order/invoice for you, and leave it in an open state for you to review before closing it.
Even though you already own a spreadsheet program, you just can't afford to keep messing with it when DashBook is so easy and so cheap.
DashBook makes it easy to calculate the statutory U.S. mechanical royalties on music, and to handle sales of both individual tracks and entire albums, whether they be physical sales or electronic downloads.
Here is one common scenario. I'll explain how to use DashBook to calculate mechanical fees owed to artists or publishers.
First, I recommend adding or changing the Product Types to include "tracks" and "albums" so that you can easily distinguish them later. (Setup->Products->Types) When you are on the product screen, you can set the product type to tracks or albums.
If an album has 13 tracks, create each track as a product in DashBook, specify the track or song length on the Measurements tab, and add anyone needing to be paid as authors for this track. A common retail price for a track is $0.99, so go ahead and use that. Now hit the Apply to save these changes, then click the Royalties tab on the first page of the product. If you press the "New" hyperlink, a new royalty will be created with this track and the next author not having an existing royalty agreement. Choose Mechanical Royalties, and type in 100% in the percentage field. Of course, you can choose 50% or any other ratio. Press OK to save these changes, and Apply on the product, and repeat for each track. DashBook has a royalty agreement copy feature, but this method is very easy. Oh, it might be a good idea to choose the non-stocking warehouse for the default for tracks, since you won't be interested in maintaining inventory.
After you have all 13 tracks defined as products, create one more product for the album itself. On the Components tab, simply select the tracks belonging to this album. If we are only concerned about mechanical rights, then this product does not need a royalty and the author/contributor column isn't necessary as well.
Now when you create an order that indicates the number of each track and album sold or downloaded, the royalties will calculate automatically. If the mechanical rate changes in the future, a simple update to DashBook (automatic internet download) will have the future rates updated with no changes required by the user. In fact, if you wish to input CD sale dates from 5 years ago, you'll notice that DashBook will use an older and smaller mechanical fee. Automatically.
Speaking of automatic, you don't actually have to enter the sales manually. For instance, you can create a customer called Apple, and ask DashBook to import your iTunes csv reports that you download from your iTunes account. (File->Import Sales Reports->iTunes) When importing reports for sales occurring in other countries, simply enter the currency conversion rate. DashBook will create the order/invoice for you, and leave it in an open state for you to review before closing it.
Even though you already own a spreadsheet program, you just can't afford to keep messing with it when DashBook is so easy and so cheap.
Friday, December 4, 2009
Automating publishing with a barcode scanner
We continue to receive compliments on our DashBook royalty software from companies seeking to improve the management of their publishing businesses. Sometimes these companies have little or nothing to do with our original market of small book publishers, but due to DashBook's amazing feature set and ease of use, they realize that it is the best product for them.
Recently we were asked about barcode support for an organization needing to track their products from their warehouses. DashBook already supports adding to and shipping from multiple warehouses, so that is not an issue. But what about barcode scanners?
As it turns out, barcode scanners are little more than machines that read code and type what they see as if a human had typed it using the keyboard. Simply plug in a USB barcode scanner, and the operating system will detect it and configure itself to use it. Here are a couple of things I played with using our new barcode scanner:
Within DashBook, I created a new order. Because our Simple order style does not show product codes, I clicked the Advanced tab to go to Order Detail. I clicked into the ISBN/Product Code field, grabbed a book off of my shelf, and scanned it. DashBook immediately created an order line with that product, filling out the price and presumed quantity of 1, which can readily be changed. Because the scanner automatically added a cr/lf (carriage return/linefeed), DashBook was ready for the next book. Just by scanning one book after another, an entire order can be filled.
My next test was to go to the product section of DashBook to create products. I just clicked the + sign to create a product, and DashBook popped open an ISBN window before the main product form. I then scanned multiple books, which automatically typed their ISBNs into this window -- all in a nice column because of the "returns" at the end of each code. When I pressed the OK button on that window, DashBook looked up these ISBN codes on the internet, and created each of the product records, automatically filling in the book titles, summary description, and authors.
Wow. I love automation!
Recently we were asked about barcode support for an organization needing to track their products from their warehouses. DashBook already supports adding to and shipping from multiple warehouses, so that is not an issue. But what about barcode scanners?
As it turns out, barcode scanners are little more than machines that read code and type what they see as if a human had typed it using the keyboard. Simply plug in a USB barcode scanner, and the operating system will detect it and configure itself to use it. Here are a couple of things I played with using our new barcode scanner:
Within DashBook, I created a new order. Because our Simple order style does not show product codes, I clicked the Advanced tab to go to Order Detail. I clicked into the ISBN/Product Code field, grabbed a book off of my shelf, and scanned it. DashBook immediately created an order line with that product, filling out the price and presumed quantity of 1, which can readily be changed. Because the scanner automatically added a cr/lf (carriage return/linefeed), DashBook was ready for the next book. Just by scanning one book after another, an entire order can be filled.
My next test was to go to the product section of DashBook to create products. I just clicked the + sign to create a product, and DashBook popped open an ISBN window before the main product form. I then scanned multiple books, which automatically typed their ISBNs into this window -- all in a nice column because of the "returns" at the end of each code. When I pressed the OK button on that window, DashBook looked up these ISBN codes on the internet, and created each of the product records, automatically filling in the book titles, summary description, and authors.
Wow. I love automation!
Tuesday, September 15, 2009
YouTube moves a little from the Dark Side
YouTube is the place people go for music. Whether they want to listen to a particular song, watch a music video, or upload a collage dedicated to a loved one, YouTube is the internet destination.
In the past, that has greatly bothered me. As I tell people, I’ve made my living from intellectual property (computer software), so I couldn’t steal someone else’s work with a clear conscience. It is my understanding that it is illegal to make public, like uploading to the internet, copyrighted material in which you do not own the copyright. Likewise, similar to using stolen goods, it would be illegal to view or listen to such material.
YouTube, owned now by Google, does not require that the person uploading videos prove that he has the legal right to do so, just like web hosts do not prevent website owners from uploading illegal content. There is a bit of difference though. The two most popular illegal uploads to YouTube are music and music videos which have been registered with the U.S. Copyright Office. And these works are publicly available for purchase. This means that Google could discover the origin of these works, as opposed to confidential company information that was newly leaked. See “Detecting the Origin of Text Segments Efficiently” for an example of Google’s intelligence when it comes to deciding the origin of news. They aren’t ignorant, and they have the money to access BMI, ASCAP, SESAC, etc. to find the information required to abide by the law.
But they don’t do that. Why? I’d say they suffer from an aggression that lawyers phrase, “It is better to ask forgiveness, than to ask permission.” This can be interpreted as, “It’s OK to violate the copyright holder’s rights, and if they complain, we’ll remove the offending material.” Google also used this stance when it decided to copy millions of books to make them available to readers, without consulting the publishers of those books. Like an ignorant child who taunts “Finders keepers; losers weepers,” Google tried to gift to the world that which was not theirs by claiming that they will make out-of-print books available even though these books are still works bound by copyright law. Basically, they are acting criminally, and asking to be policed, rather than seeking to avoid breaking the law.
Well, YouTube has recently changed this posture. While copyright owners who do not police their works may continue to have them stolen, YouTube now allows these owners to register their works with YouTube so that any uploads that contain these works will accrue royalty payments. (Scribd and other sites friendly to violators should follow this improvement.)
This means that when someone uploads a video, YouTube will scan the audio portion to see if it matches one of their commercial customers’ songs. If it does, then each time this video is played, YouTube will pay the copyright holder for this performance. I imagine that a registering copyright holder can also request that their songs not be allowed to be uploaded from elsewhere, just as there would be a need to disallow playing based on location, since licensing contracts can dictate different owners of the copyrighted material for different regions of the world.
If you are uploading videos, you can use YouTube’s AudioSwap feature to include legal music directly, to ensure that you are not violating someone’s music copyright.
What does this mean to me? Well, it now gives me plausible deniability. I can now claim that each time I play a video from YouTube, that the royalty owners are getting paid for that performance. This makes YouTube my new favorite location for finding specific songs -- all the music without the guilt.
In the past, that has greatly bothered me. As I tell people, I’ve made my living from intellectual property (computer software), so I couldn’t steal someone else’s work with a clear conscience. It is my understanding that it is illegal to make public, like uploading to the internet, copyrighted material in which you do not own the copyright. Likewise, similar to using stolen goods, it would be illegal to view or listen to such material.
YouTube, owned now by Google, does not require that the person uploading videos prove that he has the legal right to do so, just like web hosts do not prevent website owners from uploading illegal content. There is a bit of difference though. The two most popular illegal uploads to YouTube are music and music videos which have been registered with the U.S. Copyright Office. And these works are publicly available for purchase. This means that Google could discover the origin of these works, as opposed to confidential company information that was newly leaked. See “Detecting the Origin of Text Segments Efficiently” for an example of Google’s intelligence when it comes to deciding the origin of news. They aren’t ignorant, and they have the money to access BMI, ASCAP, SESAC, etc. to find the information required to abide by the law.
But they don’t do that. Why? I’d say they suffer from an aggression that lawyers phrase, “It is better to ask forgiveness, than to ask permission.” This can be interpreted as, “It’s OK to violate the copyright holder’s rights, and if they complain, we’ll remove the offending material.” Google also used this stance when it decided to copy millions of books to make them available to readers, without consulting the publishers of those books. Like an ignorant child who taunts “Finders keepers; losers weepers,” Google tried to gift to the world that which was not theirs by claiming that they will make out-of-print books available even though these books are still works bound by copyright law. Basically, they are acting criminally, and asking to be policed, rather than seeking to avoid breaking the law.
Well, YouTube has recently changed this posture. While copyright owners who do not police their works may continue to have them stolen, YouTube now allows these owners to register their works with YouTube so that any uploads that contain these works will accrue royalty payments. (Scribd and other sites friendly to violators should follow this improvement.)
This means that when someone uploads a video, YouTube will scan the audio portion to see if it matches one of their commercial customers’ songs. If it does, then each time this video is played, YouTube will pay the copyright holder for this performance. I imagine that a registering copyright holder can also request that their songs not be allowed to be uploaded from elsewhere, just as there would be a need to disallow playing based on location, since licensing contracts can dictate different owners of the copyrighted material for different regions of the world.
If you are uploading videos, you can use YouTube’s AudioSwap feature to include legal music directly, to ensure that you are not violating someone’s music copyright.
What does this mean to me? Well, it now gives me plausible deniability. I can now claim that each time I play a video from YouTube, that the royalty owners are getting paid for that performance. This makes YouTube my new favorite location for finding specific songs -- all the music without the guilt.
Friday, September 11, 2009
Lightning Source to royalties to authors
When DashBook introduced importing sales reports, we received a lot of praise from our customers. Book publishers still are a large percentage of our customer base, and when a publisher can't justify printing thousands of copies of a title, they turn to print on demand (POD). This may be for the initial printing of a book or it may be a fallback to keep a book from becoming "out of print" when its popularity wanes.
Why do so many book publishers choose Lightning Source (LS) for their POD? This is very simple. Because LS is owned by Ingram, all books carried by LS are placed in Ingram's book listings. This means that all booksellers who use Ingram (that'd be every one in the U.S.A., plus) is able to see the LS book in the catalogue and order it. That would be fine for anyone expecting the readers to request a book from a bookstore, but it won't put a book on their bookshelf. No bookstore is large enough to carry every published book. Well...
then there is Amazon. While Amazon does not warehouse all of the books it sells, it does maintain a database of every book that it could sell. So to follow the thread, this means that all books in LS are listed in Amazon's database and are searchable and purchasable from http://www.amazon.com. Not only are the books listed, but Amazon keeps ratings and comments about each book, so if the authors or readers wish to comment on a POD book carried by LS, they can do so on Amazon - the largest seller of books in the world. (nope, I'm not gong to bother researching the veracity of Amazon's success)
So, now that many book publishers are using Lightning Source, they receive a nice report showing them their sales. Here's where we get back to Dashbook. Publishers generally need to pay authors and other contributors a percentage of the sales of books. The royalty contracts describing the conditions and amounts can vary quite a bit, and can become unwieldy to track without specialized software like DashBook. Within DashBook, a publisher can describe these royalty arrangements so that subsequent sales transactions will generate royalties accrued to each royalty recipient.
Now that DashBook has a built-in ability to import LS sales reports and perform a currency conversion (LS - U.S., LS - U.K., etc.), we save a lot of typing, which greatly reduces time and errors. In fact, when a publisher has a large list of book sales to import, this can save hours. When you add that savings on top of the time saved in actually performing the royalty calculations, publishers just can't afford not to use a great tool like DashBook.
Why do so many book publishers choose Lightning Source (LS) for their POD? This is very simple. Because LS is owned by Ingram, all books carried by LS are placed in Ingram's book listings. This means that all booksellers who use Ingram (that'd be every one in the U.S.A., plus) is able to see the LS book in the catalogue and order it. That would be fine for anyone expecting the readers to request a book from a bookstore, but it won't put a book on their bookshelf. No bookstore is large enough to carry every published book. Well...
then there is Amazon. While Amazon does not warehouse all of the books it sells, it does maintain a database of every book that it could sell. So to follow the thread, this means that all books in LS are listed in Amazon's database and are searchable and purchasable from http://www.amazon.com. Not only are the books listed, but Amazon keeps ratings and comments about each book, so if the authors or readers wish to comment on a POD book carried by LS, they can do so on Amazon - the largest seller of books in the world. (nope, I'm not gong to bother researching the veracity of Amazon's success)
So, now that many book publishers are using Lightning Source, they receive a nice report showing them their sales. Here's where we get back to Dashbook. Publishers generally need to pay authors and other contributors a percentage of the sales of books. The royalty contracts describing the conditions and amounts can vary quite a bit, and can become unwieldy to track without specialized software like DashBook. Within DashBook, a publisher can describe these royalty arrangements so that subsequent sales transactions will generate royalties accrued to each royalty recipient.
Now that DashBook has a built-in ability to import LS sales reports and perform a currency conversion (LS - U.S., LS - U.K., etc.), we save a lot of typing, which greatly reduces time and errors. In fact, when a publisher has a large list of book sales to import, this can save hours. When you add that savings on top of the time saved in actually performing the royalty calculations, publishers just can't afford not to use a great tool like DashBook.
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