Your one song can create dozens of hidden revenue streams. Make more income from the fans and musicians who want access to your source tracks, stems, sounds, and more. Read the post.
For someone to quote lyrics in a book, or liner notes, it requires special permission and is not covered by the set fees or processes of music licensing. Read the post.
Getting discovered in music libraries is not a game of luck. Increasing your chances of being returned in search results comes down to defining relevant and descriptive music metadata for the songs you upload. Read the post.
Your song has to be great for you to have a chance at landing a cut with a major artist, and your song demo has to hit the right notes, too. Read More.
We spoke to a music industry veteran to get 10 tips on how to perfect your song pitch and maximize your chances of major artists hearing – and possibly recording – one of your original songs. Read More.
Being a performing artist isn’t the only way to make a living in the music business. Landing a cut can be a way to kick off your solo career, or it could be a way to long-term success as a songwriter. Read More.
You may already have the makings of a network that can help you pitch your songs to other artists — maybe even signed artists. Do your homework. You might be sitting on a mountain of contacts who could open doors of opportunity for you to earn some mailbox money. Read More.
After witnessing how quickly new technology has changed the music business in just the past five years, it’s a safe bet that no one can know for sure what awaits the music industry in the near future. Still these predictions for the music industry by leading industry professionals are interesting, insightful, and inspiring. Read more.
With every industry comes a set of terms that is specific to that field; the music business is no different. Check out this quick list of compiled definitions and music business terminology so you can learn to speak the language of the music industry. Read more.
DIY artist Whitey lashed out at and is making headlines for his recent spat with Betty, a London-based TV production company that “makes modern and high quality popular formats and factual television series” (i.e. reality TV). Betty wanted to use his song “Stay On The Outside,” claimed budget restrictions, and asked him to give away music for free. This was too much for Whitey, and he calls for a “public discussion.” Read more.
Who are the buyers for your original music? The short answer is they are incredibly diverse, and include everything from video game production companies to late night TV variety shows. And while the enormous range of buyers is encouraging, they mainly operate in a closed loop of industry contacts, so gaining access can be difficult. That why knowing the ground rules and how value is perceived by the buyers is crucial before attempting to break in to the loop. Read more.
When striving to understand how the music licensing business operates, one key fact is that the music licensing marketplace determines value on a daily basis. What this means is that to make any money licensing your music, your songs must have value in the eyes of the marketplace. The following qualities will help determine a piece of music’s relative licensing value. Read more.
To develop an adequate understanding of the path to earning money with your original music, four essential areas make up the key foundational knowledge, and we’ll explore them in three posts. In this first post, we’ll look at the different copyrights and the basic blueprint for how revenue is generated by licensing your music. Part two will address creating value and earning income through licensed music. In part three, we’ll explore the diversity of buyers for original music, and the all-important connections you will need to develop to begin to make money from your original music. Read more.
“Don’t infringe on copyrights!” If your forte is creating beat-driven masterpieces that use other people’s work as source material, how do you ply your craft and share your art without getting in trouble? Let’s dive into the murky waters of legality and copyright ownership. Read more.
By virtue of their paying the standard licensing fees to the Performance Rights Organizations, broadcasters have the right to play whatever music they like from a PRO’s catalog. Same goes for the public appearances: as long as the organizers have cleared the necessary music licenses, which they likely have done if the venue doesn’t already have a blanket license, they can play whatever they want to. For major label artists who find themselves at odds with the use of their music in such situations, they can often cause enough of a PR stir that the folks in question are better off granting the request to cease and desist, even if there are no legal ramifications. Read more.