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Kids Songs - Tips For Licensing Music From Artists
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Finding the right music for your advertisement, tv program or movie has never been easier. Simply by visiting the web and searching terms tailored towards the desired musical theme, music supervisors and those otherwise responsible for selecting and retrieving music for television and film may uncover an endless way to obtain songs. Gone are the days of music publishers and middlemen. Using 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 an invaluable purpose. Although music publishers and record labels increase licensing costs, these entities provide a necessary level of sophistication and professionalism towards the process. Musicians are recognized for creativity, not managing and shutting deals promptly and precisely. Money saved by working directly by having an unsigned band can quickly evaporate if a music supervisor does not understand and steer clear of potential increased administrative costs.
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When working directly with artists, music supervisors should mitigate risk and lower costs by keeping several key issues in your mind. These include, but aren't restricted to, the following:
(1) Obtaining Basic Information -A music supervisor's initial inquiry for 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 smart choice, but it is easy to forget to inquire about the most obvious questions;
(2) Team Information - A music supervisor should ask if an artist is presented by management, attorney, publicist, etc. If so, management or any "professional" team member might be able to wrangle the required paper work and expedite the licensing process;
(3) Rights Owners - A music supervisor should ask an artist to explain the owners of the underlying composition and also the sound recording copyrights. If the 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 using the proper party. Permission from an unauthorized person or entity is worthless;
(4) Licensing Agreements - A music supervisor should engage intellectual property counsel early in the procedure to determine which kind of licensing agreement is necessary and to draft accordingly.
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(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 these representation. Although competent counsel will include this provision, supervisors should always make sure because of its inclusion;
(6) Know when to Cut Bait - A music supervisor should set an acceptable time frame for receiving a license. If your musician is unresponsive or not able to supply the necessary agreements within the set time period, a supervisor should jump to an alternate song. You will find too many great songs and musicians on the planet down the sink your time with an unresponsive party.
(7) Choosing the Right Artist - A music supervisor should explore dealing with companies focused on the creation and licensing of one-of-a-kind media solutions. These businesses give a turnkey solution for music supervisors by housing musicians and professionals in one place. 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 fast and systematic acquisition of licenses. Companies, for example Educational Media Creations Company, LLC, not just provide a catalog of prepared to license songs, but also custom creation options. (More)
