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February 11, 2016 For artists, bands, composers, and producers, there’s no comprehensive walkthrough on how to use social media to maximize the return on sync placements (trust us, we looked!); so, we sat down and wrote one for our artist community to use and share.
November 19, 2015 HI I am Michelle Lockey, award winning songwriter and composer for Film & TV. You can see a breif bio below. I write a blog on Writing & Licensing songs for Film & TV. In this weeks episode I am talking about the Pay to Pitch model. Is it a good idea or bad? This is my experience and opinion only. Here you go!
April 1, 2014 Why Music Licensing and YouTube Are Officially Frenemies
Yes, Music Dealers knows that today’s music licensor has enough to watch out for: publishing, legal, creative, budgeting, etc., etc. But, to ensure you keep yourself covered, and are avoiding a daily regimen of banging your head on your desk while muttering curse words under your breath, we’ll be adding one more item to your music licensing watch list.
A dilemma is beginning to emerge for music licensors who post content to the largest video sharing site on earth, YouTube. A system designed to help compensate artists is beginning to piss off music licensors.
It’s becoming like that one friend who is pretty cool most of the time, but you sometimes secretly hate—the frenemy.
In a frenzy, a long-time client of Music Dealers called up one of our directors of business development. She expressed great concern about whether or not Music Dealers or its artists had any intention of monetizing content posted on YouTube through paid advertising.
music licensing, youtube November 7, 2013 Music Licensing Quicksand: Common Pitfalls To Watch Out For After The Ink Dries
By Christopher Rucks | Music Dealers
You’ve signed your license agreements. You’ve licensed the song you were hoping for, within the budget you were working with. Your project airs and you’ve checked it off of your list. All is going according to plan. Nice job. But hold on a second. There are a few instances where you may not be done, instances that require more attention after the ink dries on the contract. And you want to have some knowledge about these situations beforehand so if they do pop up, you’re prepared for these post-license circumstances and know how to handle them. Let’s take a look at three items that can occur after the ink dries.
July 28, 2013 Are exclusive agreements worth the extra effort and time of pursuing? Learn the pros and cons of working with a major label or publisher to license your songs.
July 11, 2013 The Day The Music Dies: What’s Really At Stake When Licensing Music
By Christopher Rucks—Music Dealers
It’s more than just a car to drive. It’s more than just a belt to hold up your pants. It’s more than just a song to go in a web video. It’s a promise of service.
We recently lost a music licensing opportunity. We proposed a fee of 1K for the requested use; web content, worldwide, perpetual use, mid-tier, but phenomenally licensable up-and-coming artist that we have a great relationship with.
June 25, 2013 Film & TV composer Emmett Cooke who’s music has been used by Ralph Lauren, Sony Playstation, Lockheed Martin, Simon & Schuster etc. has just released a new eBook called “The Business of Music Licensing - Generating Revenue Through Your Music”.
Book | tagged film music, music library, music licensing, tv music October 18, 2012 Authors, composers and publishers have the right, but not the obligation, to register with Performing Rights Organizations (a.k.a Collection Societies, internationally) for the collection of royalties.
The primary function of PROs is the intermediation between copyright holders and entities who wish to use their music publicly (ex. a business establishment that broadcasts background music).
They can take the role of your lobbyist, your “agents”, and most importantly, your royalty collectors.
July 25, 2011 Spotify could add an extra charge if users wanted to make their local files available to their friends via shared playlists. They could do so for an extra charge, to cover the added bandwidth costs and royalties.
November 9, 2010 In Part 1 of this list, I began listing common terminology you will see over and over again in the contracts you receive. And although an entertainment attorney and other experienced professionals should be reviewing and explaining them to you, it is always good to have at least a basic understanding of some of the jargon. So here is Part 2 of Music Contract Terms Every Artist Should Know, In Plain English…
License - This has nothing to do with your driving…A license in the entertainment business is permission a company or any other 3rd party gets when they want to use your music. If you write a song, and Lady Gaga wants to sing it, she has to get a license from you to use it. If “Ride Or Die San Andreas-The Movie” wants to then use her version of that song in their new game, they need a license from you AND her…Radio gets a license for every song they play. So does every bar, club, and restaurant! (Well, they’re suppose to anyway…) This license is needed because under copyright law, you own the song, and therefore have a right to decide who gets to use it (for an exception, see compulsory license below).
Artist Development, Breaking into the industry, Education, Information, Music Business Plan, Music Industry, Music Management, Realistic Music Careers 101, Songwriting, independent music, music business, record labels | tagged Legal, music business advice, music business contract, music licensing, publishing, tips May 5, 2010 Online music collaboration and licensing - made easy
May 3, 2010 Have a sync (www.haveasync.com) is the new tool for music licensing, designed and managed by Bixio Publishing Group. It allows directors, advertising agencies, music consultants to find the perfect music for films, documentaries, commercials, TV series and other audiovisual productions. The research is intuitive, fast and efficient, thanks to the innovative Sync Cloud system. All the tracks on Have a Sync are available in full-track streaming. For most of the tracks, the licenses can be purchased directly online for both publishing and master rights.