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- 1. Music Publishing & Licensing An evaluation and survey of MDIA 3307
- 2. My place in the Industry
- 3. Currently ï âs social media marketing advisor ï Friend and general advisor to local band Fathers of the Revolution ï General patron of house shows ï Co-founder of WIMI: women in music industry ï A networking group that holds mentoring sessions with professionals in the industry
- 4. Currently (continued) ï Visual artist ï Album art for Evan Sitesâ latest single ï Gig posters for various artists
- 5. The Future ï Artist Manager ï While it poses some difficult work, itâd be a very rewarding position where I could use a very hands-on approach and my natural nurturing personality ï Marketing ï Something Iâve always enjoyed ï A focus on social media marketing and lots of visual marketing tactics
- 6. The Future (continued) ï Working for an independent label ï Smaller labels have smaller staffs, meaning each person is involved in more aspects of a labelâs day to day work and many needs ï Publishing ï Synch licensing ï A interesting and engaging mix of creativity, business skills, and people skills ï Publisher / administrator ï Working hard for artists to best exploit their copyrights would be very rewarding
- 7. What Iâve learned about music publishing
- 8. Publishing has many facets ï Not just one revenue stream ï Made up of many parts ï Publishers ï Mechanical royalties, Performance royalties ï Performance Rights Organizations ï Synchronization licenses ï Sundry licenses ï Ect.
- 9. Types of Publishing Deals ï Administrative Deals ï Writer(s) retain copyrights, publisher hires administrator who oversees the daily work ï Work-for-hire ï Writer writes song for a company that then retains the rights to the song ï Co-Publishing ï Usually a 50/50 split ï Sub-publishing ï Deals with foreign administrator
- 10. Mechanical Royalties ï Royalties paid for physical reproductions of songs ï The rate for mechanicals is statutory. ï The current rate for mechanicals is 9.1Âą ï Mechanical Royalties also apply to covers of an artistâs songs ï Once permission for a song has been given once, the mechanical license becomes compulsory ï Harry Fox Agency administers mechanical licenses
- 11. Performance Royalties ï Performance Royalties are earned when a song is performed, whether it is by the author, the artist it was written for, or a cover ï Blanket licenses ï Performance royalties are collected by performance rights organizations (PROs)
- 12. PROs ï There are three PROs ï ASCAP, SESAC and BMI ï SESAC is invite only
- 13. Synchronization Licenses ï Synch licenses are for synching audio to moving picture, like putting music in a film ï There is no set rate for synch licenses ï Subjective, specialized deals
- 14. Sundry Licenses ï Sundry licenses cover music used in advertisements, karaoke, samples and toys, ect. ï For example: Money in Advertising ï Rates for a 12 month campaign ï Regional: $75,000 - $125,000 ï National: $175,000 - $500,000 ï Exposure ï Can reinvigorate old artists (Nick Drake & VW) ï Can popularize new artists (Yael Naim & Apple)
- 15. New Terms & Concepts
- 16. Administration Deals ï Ownership is retained by writer ï Admin gets a percentage of money that comes in through publishing ï What Iâd recommend to artists, because good publishers have connections they donât
- 17. Most Favored Nations ï All people get the same deal ï If a film is willing to pay a high amount for one song, they have to pay that amount for all songs
- 18. Controlled Composition ï A three-quarter rate, this allows a label to only give a writer 75% of the statutory rate for mechanical royalties ï A way for labels to nickel and dime writers ï If I was managing an artist, Iâd make sure to look out for this
- 19. What area of the Industry do I find exciting?
- 20. Sync Licensing ï Marries the creative side with the business side, while emphasizing relationships ï Even if youâre only in charge of obtaining the necessary permissions and not choosing the music, youâre still an important part of making a scene complete
- 21. Areas of Publishing Revenue I Can Take Advantage Of In The Future
- 22. Administrator ï If I was an administrator I could receive a percentage of the money coming in, agreed upon with the copyright holder
- 23. Pitching songs ï I would receive a portion of money from a sync license deal if I pitched a song and got it placed in a film, ad or tv show
- 24. PRO â operating expenses ï PROs take a portion of performance royalty income for operating expenses ï If I worked for a PRO, I would get paid from the money taken for operating expenses
- 25. How has my viewpoint of the industry changed?
- 26. This course built upon a foundation ï The Business of Selling Music course gave a a solid foundation ï This course built upon that foundation ï We went much more in depth on concepts ï Taking this in conjunction with the SXSW trip really helped me grasp concepts discussed at panels and in mentor sessions ï I feel confident and informed about issues within the industry ï When Thomas Golubic asked us if we knew about something at breakfast, we all nodded enthusiastically â because this class taught us.