In a follow up to our Work For Hire post that looked at these agreements from the producer’s perspective, this post gives advice to musicians being asked to perform/record and sign a WFH contract. Read the post.
If you’re hiring musicians (or other contributors) to work on a music project, these tips from a music industry lawyer can help you navigate a Work For Hire agreement. Read the post.
For indie musicians and songwriters who don’t yet have connections in publishing and licensing, music libraries are one way you can seek music licensing opportunities. Read More.
These five steps might not be fun or glamorous, but they’re necessary if you’re serious about seeking a music licensing deal. Read More.
A cue sheet is a written synopsis of the music used in a production and is one way to ensure all the stakeholders in a song are compensated adequately. Read More.
Copyright termination is giving music artists the opportunity to reclaim the rights to their songs. The stories of Duran Duran, Paul McCartney and The Village People’s Victor Willis tell the tale. Read More.
Performing Rights Organizations aggregate the performing rights of writers and publishers and then negotiate licenses with all the users of music, collect the income from those licenses, and distribute that income. Read More.
“Happy Birthday To Me:” a complicated history – and future – for the world’s simplest song; vinyl sales continue to make headlines, with sales generating more revenue than free Spotify, YouTube, and VEVO combined; JVC and Taiyo Yuden to stop producing optical media – FalconMedia remains a reliable option. Read more.
In the broadest sense, a music publisher looks for music initially like an A&R rep at a label would. We’re searching for the best talent. We do differ in one significant way: talent alone can sometimes entice an A&R rep to sign an artist. With music publishers, that is rarely the case. Read more.
Working with partners when songwriting is inherently collaborative and is often how great songs get written. Plus – for musicians, songwriters, and producers – the music creation process is usually the most enjoyable. But how do you split up the music publishing pie when it comes down to business? Read more.
Music licensing is a very lucrative business with no shortage of placement opportunities. As an independent music creator, you have the ability capitalize, but you have to be organized, flexible, patient, and willing to cater to the market’s needs. This is a different ball game when compared to creating music for an artist. Here’s some tips to help you better prepare yourself for licensing. Read more.
Updated August 2017. A music publishing deal can be an additional revenue generator for a songwriter, and we’ve got advice on how to prepare your material and get into the mix. Read More.
“It’s a mistake to remix from a stereo master,” says expert remixer Justin Lassen. “If the track is already mastered and has its dynamics already defined, there’s only so much a remixer can do. If you are going to remix, import the stems from the original session, mute everything, bring in elements one at a time, and figure out a game plan as to how you’re going to tell the story of the remix. Read more.
CD Baby has launched CD Baby Pro, a new service for independent music artists that helps collect the songwriting and music royalties you’ve earned worldwide. Even if you’ve registered your works with a PRO, it’s virtually impossible to collect all the publishing royalties owed to you every time one of your songs is purchased, streamed, or played in a public setting. CD Baby Pro solves this problem and makes it easy for you to get paid what you’ve earned. Read more.
Songwriters – or more correctly, copyright holders – have always been compensated for the use of their songs, whether it was via traditional radio or new streaming services. With the rise of more and more new outlets for music consumption, master rights are an essential asset to leverage for artists and labels to earn money. Read more.