The Musician's Guide to Licensing Music How to Get Your Music into Film, TV, Advertising, Digital Media & Beyond
, by Wilsey, Darren; Schwartz, Daylle Deanna
- ISBN: 9780823014873 | 0823014878
- Cover: Paperback
- Copyright: 2/16/2010
This resource is a must-have for musicians and composers of all musical genres who want to tap into the hottest new income streams and opportunities for exposure offered by music licensing.
Darren Wilsey is an award-winning composer, songwriter, and music supervisor who has worked on both sides of the music licensing business. He has written, produced, and mixed music for an illustrious list of movie soundtracks, advertisements, and network television shows, including Third Watch, Sex and the City, The Hills, and Queer as Folk. Daylle Deanna Schwartz is a respected music industry insider who ran her own record label for five years. She is the bestselling author of I Don' Need a Record Deal and Start and Run Your Own Record Label.
| Introduction | p. xiii |
| The Business of Music Licensing | p. 1 |
| What Is Music Licensing? | p. 1 |
| Benefits of Getting Music Licensed | p. 3 |
| Licensing Songs versus Composing Scores | p. 4 |
| Soundtrack Albums | p. 8 |
| Music Libraries and Production Music | p. 9 |
| Demand for Independent Music | p. 10 |
| Music Licensing Players | p. 13 |
| Music Supervisors | p. 13 |
| Music Editors | p. 17 |
| Music Production Houses | p. 17 |
| Getting Representation versus Self-Representation | p. 18 |
| Music Publishers | p. 22 |
| Lawyers | p. 28 |
| One-Stop Licensing Services | p. 30 |
| Music Licensing Agreements | p. 33 |
| Master License | p. 35 |
| Synchronization License | p. 37 |
| Master License versus Synch License | p. 38 |
| Broad Rights/All-In Licensing Agreements | p. 42 |
| Soundtrack Album License | p. 43 |
| Festival Use License | p. 46 |
| Licensing Rights in Disguise | p. 47 |
| Request Letters | p. 47 |
| Performing Rights Organizations (PROs) | p. 50 |
| Licensing-Related Agreements and Terms | p. 54 |
| Nonexclusive Song Marketing Agreements | p. 55 |
| Nonexclusive Copublishing Agreements | p. 58 |
| Exclusive Music Publishing Agreements | p. 61 |
| Blanket Licenses | p. 66 |
| Options Clauses | p. 66 |
| Protecting Your Music | p. 68 |
| Band Agreements | p. 68 |
| The Protection of Copyright | p. 71 |
| Copyright Infringement | p. 73 |
| Unauthorized Use | p. 74 |
| Sampled Content | p. 75 |
| Work for Hire | p. 77 |
| Employee or Collaborator? | p. 79 |
| Common Contractual Terms and Provisions | p. 80 |
| Show Me the Money! | p. 88 |
| Valuing Your Talent and Skills | p. 88 |
| Cash Advances from Publishers | p. 90 |
| Mechanical Licenses and Royalties | p. 91 |
| Front-End Fees | p. 92 |
| Back-End Royalties | p. 93 |
| Step-Up Agreements | p. 96 |
| What Music Works Best for Licensing? | p. 98 |
| Understanding the Emotion of Music | p. 98 |
| Getting Acquainted with Musical Content | p. 100 |
| Where Different Genres Fit | p. 101 |
| Music Clearance and Racing Clocks | p. 103 |
| Music Requests | p. 105 |
| Cover Songs | p. 108 |
| Cleared Music | p. 110 |
| Making a Game Plan | p. 113 |
| Mental Preparation | p. 113 |
| How Songs Get Chosen | p. 115 |
| Honing Your Sales Pitch | p. 118 |
| Budgets | p. 120 |
| Is Free Worth the Price? | p. 120 |
| Preparation Exercises | p. 124 |
| Cultivating Contacts and Relationships | p. 126 |
| Starting Out | p. 126 |
| Initiating Relationships | p. 128 |
| Chance Encounters | p. 130 |
| Creating a Network | p. 131 |
| Following Up | p. 133 |
| Being Someone They Want to Work With | p. 133 |
| Resources | p. 136 |
| Events and Support | p. 140 |
| Presentation Tools | p. 142 |
| Packaging Your Music Effectively | p. 142 |
| Presentation Styles | p. 145 |
| Submitting Music | p. 146 |
| Following Up | p. 149 |
| Marketing Songs Online | p. 151 |
| Getting Music Licensed in Television Shows | p. 155 |
| The Licensing Trend | p. 156 |
| Multiple Revenue Streams | p. 158 |
| Deadlines and Clearance Requirements | p. 159 |
| Getting in the Door | p. 160 |
| Theme Songs | p. 161 |
| Agents and Composing for TV | p. 163 |
| Music Uses | p. 164 |
| Getting Music Licensed in Films | p. 169 |
| The Lure of the Big Screen | p. 170 |
| Music Uses in Film | p. 172 |
| Understanding Filmmaking | p. 173 |
| Indie Film Advantage | p. 175 |
| Musicians' Union | p. 178 |
| Breaking In | p. 180 |
| Getting Music Licensed in Advertising | p. 183 |
| Benefits of Licensing Music for Advertising | p. 183 |
| Forming a Network | p. 184 |
| Radio Commercials | p. 186 |
| Television Commercials | p. 188 |
| Income Stream from Commercials | p. 190 |
| Breaking into Commercials | p. 192 |
| Interpreting Music Requests | p. 192 |
| Lines of Command | p. 194 |
| Getting Music Licensed in Brand Entertainment and Sponsorship | p. 198 |
| Traditional Sponsorship versus Brand Entertainment | p. 199 |
| Qualifies That Attract Product Sponsorship | p. 202 |
| Going for Sponsorship Deals | p. 204 |
| Sponsorship Backlash | p. 206 |
| Being Proactive | p. 208 |
| Additional Licensing Options | p. 212 |
| Getting Music Licensed in Digital Media | p. 213 |
| The Digital World | p. 214 |
| Digital Licensing Basics | p. 215 |
| Games, Loops, Ringtones, Internet Radio, and Podcasts | p. 217 |
| Peer to Peer Music Networks | p. 227 |
| Buying and Selling Songs Online | p. 230 |
| Key Points to Remember | p. 232 |
| Getting Music Licensed in Less Obvious Markets | p. 233 |
| The World Outside of TV, Film, and the Internet | p. 233 |
| Getting to the Right Person | p. 235 |
| Licensing Music in Colleges and Universities | p. 237 |
| Licensing Music for Live Performances | p. 238 |
| Licensing Music for Corporate Training Videos | p. 241 |
| Licensing Music for Music Compilations | p. 243 |
| Licensing Music for Restaurants | p. 245 |
| Licensing Music for Massage Therapy Centers | p. 246 |
| Licensing Music for Resorts and Hotels | p. 246 |
| Licensing Music for Educational Purposes | p. 247 |
| Licensing Music for DJ Remixes | p. 248 |
| Licensing an Idea | p. 249 |
| Capitalizing on the Unexplored | p. 250 |
| Making Money Internationally | p. 252 |
| Foreign Royalties | p. 252 |
| International Performing Rights Organization Affiliates | p. 253 |
| How Royalties Get Collected | p. 255 |
| International Royalties for Performing Artists | p. 259 |
| Tapping into Foreign Licensing Opportunities | p. 260 |
| MIDEM and Popkomm | p. 262 |
| Frequently Asked Questions | p. 265 |
| Advice from the Pros | p. 272 |
| Acknowledgments | p. 279 |
| Index | p. 283 |
| About the Authors | p. 290 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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