Kids Songs - Tips For Licensing Music Directly From Artists
Finding the right music for your advertisement
, television show or movie has never been easier. Simply by logging onto the internet and searching key terms tailored to the desired musical theme, music supervisors and those otherwise in charge of selecting and retrieving music for television and film may uncover an endless supply of songs. Gone are the days of music publishers and middlemen. With the fall of record labels and the rise of Do-It-Yourself, artists are more eager than ever to license their music directly.
Middlemen, however, serve a valuable purpose. Although music publishers and record labels increase licensing costs, these entities provide a much needed level of sophistication and professionalism to the process. Musicians are known for creativity, not managing and closing deals promptly and precisely. Money saved by working directly with an unsigned band can quickly evaporate if a music supervisor fails to understand and avoid potential increased administrative costs.
When working directly with artists, music supervisors should mitigate risk and lower costs by keeping a few key issues in mind. These include, but are not limited to, the following:
(1)Obtaining Basic Information A music supervisors initial inquiry to an artist should contain a request for basic contact information. Musicians are infamous for checking email weekly, if not monthly. A telephone number and mailing address are must haves. This might seem like a no brainer, but it is easy to forget to ask the most obvious questions;
(2)Team Information A music supervisor should ask if an artist is represented by management, attorney, publicist, etc. If so, management or any professional team member may be able to wrangle the necessary paper work and expedite the licensing process;
(3)Rights Owners A music supervisor should ask an artist to clarify the owners of the underlying composition and the sound recording copyrights. If an artist has illegally covered an unlicensed song, a coordinator will want to know this. A coordinator will also want to know if he is negotiating with the proper party. A license from an unauthorized person or entity is worthless;
(4)Licensing Agreements A music supervisor should engage intellectual property counsel early in the process to determine which type of licensing agreement is necessary and to draft accordingly.
(5)Representations and Warranties A music supervisor should ensure its licensing agreements contain a representations and warranties clause by which the signing musician represents he/she/it is the copyright holder and warrants against breach of such representation. Although competent counsel should include this provision, supervisors should always double check for its inclusion;
(6)Know when to Cut Bait A music supervisor should set a reasonable timeframe for obtaining a license. If a musician is unresponsive or unable to provide the necessary agreements within the set timeframe, a supervisor should jump to an alternate song. There are too many great songs and musicians in the world to waste your time with an unresponsive party.
(7)Choosing the Right Artist A music supervisor should explore working with companies specialized in the creation and licensing of one-of-a-kind media solutions. These companies provide a turnkey solution for music supervisors by housing musicians and professionals under one roof. Musician owners/employees create music, which is owned by the company and managed by its staff of business professionals. Music supervisors work directly with professionals allowing quick and systematic acquisition of licenses. Companies, such as Educational Media Creations Company, LLC, not only offer a catalog of ready to license songs, but also custom creation options.
by: Justin M. Laughter
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