Artist Management Firms: If you do not have someone on your team whose sole responsibility is to utilize online music sync agencies, pitch ad agencies, and cozy up with music supervisers, you’re missing out, bigly.
When I owned/operated Renaissance Artist Management (aka RAM Artist), I established an in-house position for the sole purpose of securing music sync opportunities. This was during the early days of micro-sync and the boom of online sync agencies.
We leveraged online agencies (at the time that included Rumblefish before they were acquired by HFA and pivoted). Check out Songtradr, Music Bed, MusicDealers, YouLicense, Pump Audio, and many others like them.
Consider giving some tracks to exclusive libraries who do well pitching your artists’ sound. Red Bull Media House is always looking for good music and they get YUGE placements.
Make sure to read the deats of their contracts.
Here’s a few things to look out for:
- Exclusivity – Try not to give micro synch agencies exclusivity. If you’re giving a company exclusivity, it better be a solid library. (TuneCore PRO users…did you know when you opt-in to their synch licensing program, you’re giving them exclusivity?)
- SoundExchange Royalties – Some pitch houses and libraries have tried to sneak in a cut of your SoundExchange royalties. Don’t let them get it. They are not getting your music placed on digital radio, so they do not participate in your digital radio royalties. I successfully helped an indie artist negotiate that clause out of a library agreement.
- Tagging/ReTitling– Tagging is the practice of adding an identifier to your song title when the song is registered with a PRO. Retitling is creating a new title for the song when registering. The goal of both methods is to disambiguate any performance royalties generated as a result of the libraries sync placement activities. This is necessary when you have multiple non-exclusive libraries getting places of the same song. They want to make sure that when the cue sheet from the TV show gets to the PRO, the royalties earned against that specific placement gets to the right entity. It’s not unheard of for one song to be placed by several non-exclusive sync agencies, each with retitles or tagging and capturing royalties for their specific placement. Do know that the writer gets the writer share for all of the placements. The agencies/libraries participate in the publishers share of their specific title.
- Duration of Term – Exclusive libraries may want up to 3 years exclusivity. Aim for 1 year for the first term.
Learn about royalty forensics, that is the art(science?) of tracking down uses of your music and capturing associated royalties (this is definitely important when it comes to big multi territory placements, TV syndication, and film secondary market distributions).
You may want to setup your own music licensing store, so that when you meet music sups, you can send them to an easy-to-search library of your own music. Check out Soundgizmo and LicenseQuote for this.
And of course, don’t forget to make sure the music is registered before it starts to generate royalties, with TuneRegistry.
If you missed me at the XLIVE Data & Analytics Summit yesterday, here’s a clip of me talking about blockchain.
CALL FOR ENTRIES!
Entry Deadline: April 21, 2017
Showcase: June 8, 2017
CLICK HERE TO ENTER
GRAMMY Showcases have built a successful track record of exposing new emerging talent to industry professionals and fans. This is your opportunity to perform live at the Los Angeles GRAMMY Showcase.
To enter and for a complete list of rules and regulations, click here.
The event is open to unsigned artists and/or artists without major label distribution
The Open Music Initiative (OMI) is seeking student software developers, musicians and visual artists for the 2017 OMI Summer Lab running June 5-July 28 in Boston, MA. These paid internships will explore the technical challenges of utilizing distributed ledgers and the Open Music Initiative API for:
- Cataloging, attributing and distributing live DJ mixes
- Commercializing mixtapes built from original material and back catalogs
- Compensating musicians for visual works using their songs as data
- Identifying individuals for their contribution to single tracks in new works
The eight week program will be facilitated by globally renowned innovation and design firm, IDEO, and Berklee College of Music’s Berklee ICE, and supported by sponsors which include Intel and the Inter-American Development Bank. At the end of the summer, teams will demo new art works utilizing blockchain registration, share evolved use cases and make recommendations for additional features to the Open Music Initiative API based upon their experience.
We are seeking currently enrolled college students that are collaborative, curious, flexible, detail oriented, and technically interested with the following skills:
- Blockchain Developer… you’ve made your own crypto currency, maybe your own virtual wallet or market, you have an opinion about how this stuff should work in the future
- User Experience Designer or Front End Developer… you can code data into art, you can code a website from scratch, you’ve moved beyond the hamburger menu
- Graphic Designer… you simplify complicated ideas artistically, you’re marketing-minded, you wish you had met Reid Miles
- Business Associate… you’re entrepreneurially minded, you can size a market, you know just enough about the law to be dangerous
- Musicians… you have a favorite genre but you can jam with anyone, you like to experiment with new technology, you’re cool under pressure, you know your way around a turntable
- Visual Artist… your medium is digital data, your art doesn’t know a resting state, you think in an XYZ axis
If you match one of these descriptions then please apply here then join us for a final selection hackathon on Saturday, April 22 at IDEO in Cambridge, MA. You must participate in the hackathon to be selected. Chosen students will receive $3,000 each for full participation in the Summer Lab.