If you are a tech business looking to use music then you are going to have to acquire the rights to use it. If not, and you do, you could end up in hot water.
Whether you agree or not the music industry is essentially a rights business. When you by a CD or stream a track, someone must pay the rights holder to use that content. You are essentially buying a copy of the recording and it’s more often than not that the record label owns the rights.
If you are a tech business looking to use music then you are going to have to acquire the rights to use it.
If not, and you do, you could end up in hot water.
It is the music publishers job to collect this money from these rights and then after taking a percentage they distribute it back to the artists. It sounds simple, but it is a complicated business especially when there are live, rights on recordings, synchronization deals (procured and non-procured) and many other nuances that need to be factored in.
This masterclass will explore just how music publishing actually works. If you are a composer/songwriter, you need to know how you can make as much from those compositions as possible. If you are a business looking to use music for a project, this session will make you aware of what you will need to do.
First of all, we will look at where the income actually comes from, how music publishers work and what the various different income streams will look like and what the revenue splits are. We will also look at the role of the publisher and how they work to promote you as an artist.
We will look at how publishers make decisions on who they want to sign to publishing deals and look at the A&R process. What a publishing ‘advance’ looks like and how that is recouped. We will also look at how publishers ensure that artists don’t just get left to their own devices and the support they can get from their publishing company.
Then we will look at the ins and outs of getting music on TV or in a film, in other words a sync deal. How complicated is this? How lucrative? What are the differences between ‘blanket’ licensing and direct licensing and the roll of people who actually select the music that gets placed?
With genuine industry insight this event will help you understand how to navigate the world of music publishing….and not get lost in the dark!
- Simon Pursehouse – Sentric Music
- Jason Sharpe – Tileyard Music
- Harry Davies – Imagen Music