Sunday, January 3, 2010

Music Licensing: The Cold Cash Facts About Money for your music

Where music meets licensing, there is making money. How much money? "I have everything synchronized to a few thousand songs into productions over the years have," says Peter Jansson of Janssongs, Inc., is in fact somewhere between $ 1.00 and U.S. $ 250,000 for each charge. "

That's right: He said that a quarter of a million dollars. And there are many places to earn money from music. For example, there are more television shows on cable channels than ever. There are tons ofCommercials. There are tons of games and toys. There are galore corporate video productions. There are great films, short films, and direct-to-DVD movies. And all are potential places for music, if the rights can be eliminated.

Goldmine or minefield.

The world of music clearance can be a goldmine or a minefield. We listened to the quarter-million-dollar gold mine. "Having said that," Jansson adds: "I think the average is typically between $ 4,000 - $ 6,000 per page(ie Master & Synch). It depends on how badly you want to use the song and how great it was a success. "These two words," Master "and" Building "means a part of the problem for the average singer / songwriter who had a song of hope, appears on a soundtrack. Before you start to earn money, you need to know much .

The facts are so important that the National Association of Record NARIP professionals has, Stacey Powell conducted workshops on the topic. Powell, currently clearing MusicOn Air With Ryan Seacrest, she says, "This is a much more complicated the business of many people, but can be very profitable for the artists, so there's a good feeling to pass the information."

A Little Tech Talk.

Copyright The music can be used in four main categories: adaptation, recording, playback and public benefits. Depending on where and how someone goes to use a song, there are mechanical rights and the rights that the synchronizationto be negotiated, and the various stakeholders can authors, publishers and record companies, as a rule are holders of a license fee.

Well, that last part does not seem so complicated. Oh, really? Keep in mind that there may be authors, each with its own publisher for their parts of the song. Song writing are held by the publishers of music (and the artist, but more often a third), while the audio recordings (masters) are controlled by recordCompany (which may also be the artist when it is) imagined.

The facts in question.

So what exactly is "Music" Clearance? Simple: with the permission of the owners of copyrights of music in your production. But what right? The song, the copyright is held by the authors (or the property of the artist, or who the rights are sold). The master recording is held by the person who controls the recording of the song. Ah, but the version of the song? One of the Singer / Songwritercollected? The one covered with Russian text? Jazz instrumental? One relates to metal-reggae band?

Consider this: you can record without the permission of the publisher of authorization by the record - if you have a new version of the song. But without the permission of the publisher, the licensing of master recordings, not good at all.

The field is very competitive. Don Grierson, former head of A & R for Epic / Sony, Capitol Records and EMI-America, and often the music --Supervisor, consultant and executive producer, notes that "nearly everyone in the music of being, which seems to be the film / TV and commercial licensing market. There is strong competition. Therefore, these reports in some cases but is often determined by the ease with which you can get playing. "

Negotiations on the fees

Janssongs "Peter Jansson quickly lists some of the variables:" When it comes to Synch Licensing, there are a number of factors thatto determine what the fee, such as: region (in the U.S.? world? provincial?), medium (Theatrical only? radio? TV background? DVD / Video? new technologies?), use (recommended Instrumental / On Camera? BACKGROUND instrumental / vocals?), composition (throughout its length? 30 seconds or part of it?), version (or re-record the original recording), just to name a few. "

But even if you sort who gets what and where something is going to be used, there is the legal terminology,Orders are phrases such as "contain, with the exception of the world of BRT's," "Rear Window", "now known or hereafter developed," "most favored nation", "pro rata Share", "Third Party Payments" and also "audit".

While it is not necessary that all these things when you know, a songwriter, recording artist, manager, agent, record executive, film / TV production professional, or executive advertising agency. But the more we know, the better. Not only will you be more comfortable with the business side of musicSociety, you are in a better position to be a career officer - your or your customers "- the most rewarding opportunities.

"You just know something 'about these issues you may have the liquidation of these guys follow the conversations with my clients and all their other representatives," said a manager of several musical acts. Know "and a little 'can help a lot."

Examples from practice.

Sometimes you learn by doing. "The first time I've licensed a song for myself," says Marc FerrariHe Catalog Music Master Source "I never paid for the license. The production of the film released (Son of Darkness 2) then went bankrupt. What a way to start a business! I have more luck with almost 1,600 licenses since then!"

Don Grierson, when acting as music supervisor for the film industry, says: "Those who represent the songs often call me and ask," What are you looking for? "And it's amazing how quickly that can change. The requirements of music for a particular project or evenhave a particular scene in a film can vary, depending on the director, producer, etc. And what mood is created in the scene may change in post-production, requires a change in music. "

To avoid errors.

Where people are involved, there may be errors. "Books and music labels to sell and sublease and assign, of which she did not even start with," said Janet Fisher of Goodnight Kiss Music. She quickly lists a few potential problems: "NewCompanies file new cue sheet and suddenly a song attributed to the wrong writer, is a change in the way of forgetting a publisher or sometimes a copyright holder simply not all forms of work paper filing, including changes of address. "

An Indian artist who has worked for various compositions in television shows, said: "As an artist India has a great advantage. Music supervisor are always looking for quality master recordings. An indie artist can synchronize from a master's degree in Music Licensing day. The time isalways a problem, and TV supervisors love indie artists because of the lack of bureaucracy majors, often without permission in time. "

Goodnight Kiss' Fisher agrees: "Of course, before an indie catalog will be more accessible and easier to manage. The big companies are not as hungry as the small, and our songs are no longer once removed from source.

Another who agrees to music supervisor Frankie Pine, who has worked at all, StevenSoderbergh's film and TV projects over the last ten years. "I have at least one reception in every indie film had," he says, "and is often much easier to know them to sign an agreement. In a business that is all the time, which is a real plus."

Helping indie musician Barry Coffing resistance Entertainment. "We are looking for great independent music," he said, "and the nice thing about this business is that there is so much great music done in severalCategories. "

Musician vs. Music Supervisor.

Nancy Luca is a musician who plays so often on both coasts, she was a Los Angeles band, a band from New York, and has in the Florida band, and does session guitar work (his solos were sent two spots Heineken during the Super Bowl). She notes that "There are people who spend a lot of money writing music for television, which" sounds like "artists. It would be nice if the real artist, like me, great songs, but had no fracture benefitwith a major label. I am only for approval, so that people hear the real music - the material that was written with the heart and mind, not just for a paycheck. "

Joel C. High, Vice President of music and soundtracks for Lions Gate Entertainment, shows the emotion that many of us make the music work with images. "We often have directors who are heavily inspired by music, possibly relating to the acquisition of a song that would not normally fall within the budget of that passion for cinema or televisionProject. That is, if we, as supervisors of music, must try to bring the same zeal to the negotiating table. We try to BAT for our directors so that the benefits of the image to go to get the best possible danger for the artist music. We want to get the music absolutely perfect for the scene and often the only way that can happen, with the inclusion of artist, the merits that is used to see his song in a film - the way the song, so I can see, will considerBenefits that a more than just financial. "

A member of the copyrights and licenses of a major independent publisher, had this to say: "Obviously, music licensing in film / TV is a great way to get exposure, even if it is for new artists, probably not is profitable. And of course there are things that a writer / artist should consider when someone requests to use their music: to prevent the spread of rights for free! This sets a bad example in the community, particularlyfor new artists / authors, and de-values their work. "

This person has some ideas for the work of a compromise? Sure, "If an author is anxious to be involved in a project, and the manufacturer wants to use for free, here are some suggestions in the course of negotiations. Try to reduce the one hand, and conditions (eg instead of eternity, they reduce the time limit of 10 years, but by all the media to reduce all TV and theatrical alone, and instead of human rights worldwide, to try to reduce the United States alone). If the produceris not pleasant for them, the writer must be a kind of 'stepping Apply too much. "Very little money (if any) is payable in advance, but should be the production is successful, they are obliged to compensate the writer at certain" milestones "." The feeling that "if the producer starts making money, the author of musical works should be involved."

Music supervisor Frankie Pine and PJ Bloom is the best piece of advice for artists placing music: "When you call, for example, thank you!"Says Bloom. "There are so many people trying to get songs on the soundtrack, which is important to get in the door, and then create a relationship."

The Bottom Line.

Fisher has a nice metaphor for this story summary: "As in all parts of the world of music, celebration of the concession can or want, or plain old gold mine shaft - but like any part of any business, the best protection is in use, the experience and integrity. If I find a gold mine, I would be aexperienced miner, had found the first gold. "

URL for the client in this story are:

http://www.goodnightkiss.com,

http://www.janssongs.com,

http://www.mastersource.com,

http://www.nancyluca.com,

http://www.narip.com,

http://www.sladjana.com/pages/don_grierson.htm,

http://www.uprisingent.com,

http://www.gmanmusic.com

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1 comment:

  1. This is an article (actually a couple) that was posted in Music Connection Magazine YEARS ago. It's also been "tinkered" with to a point of nonsense. You are misquoting the content and the people. If anyone wants to see the real article (with accurate information), search Google under Music Connection Magazine / The Cold Hard Facts About Music Licensing.

    What you have done is called "Plagerism."

    ReplyDelete