TV music licensing recommendations? If you performed and recorded a cover version of an Ed Sheeran song, Ed (and his publisher) would still own the publishing rights for the song itself, but you would own the master rights for the recording. Because it’s his song you performed, but you recorded the cover version. To give you an example of how these work, if you write and record an original song all by yourself, you own 100% of the master and publishing rights for the song and the recording. Now we’ve got that down, let’s talk about copyright in context of sync. Your rights are what generate revenue for you in the world of Sync. Each time one of your songs is about to be placed, the licenser (music supervisor or client) needs your permission to ‘clear’ or authorise the use of the track. This includes both the recording (master), and the song (publishing).
Music supervisors, app developers, and producers will always gravitate towards clean, concise, organized pitches and EPKs. Be sure to have a place on your website, or an embed in your EPK that allows music supervisors to strum through your catalog quickly. It may even be smart to set up a microsite or a new EPK just for your work that you want to try and get licensed. Another huge part of your marketing that’s overlooked is the metadata. When you get to the point of sending MP3s out to licensing executives, make sure clear meta tags such as genre, year, publisher, and artist are embedded in your tracks. It makes supervisors’ lives a lot easier, as you’re helping them stay organized.
I earn monthly revenue from my Content ID. What is the benefit of turning it off to license my song? On average youtube monetization for 1000 youtube views ranges from 0.5 to 2 USD based on the location of viewers and the target audience. The numbers vary a lot, but most channels get 0.5 USD per 1000 views. It takes a significant amount of views to earn a substantially consistent monetary return. Essentially your music is working harder as opposed to working smarter. In comparison, our musicians are compensated at a more competitive rate for less work. Our payout for one of our most basic licenses pays at a rate that is 8.4% higher in comparison. Discover more information at music licensing for film.
Rhythm Couture artists questions and answers: Rhythm Couture is home to many talented musicians, and Jen-Shuo Chen is the latest up and coming artist set to make big waves within the music licensing industry. We recently sat down with him to discuss his recent signing with Rhythm Couture, and got to know him on an up close and personal level. What is your name, and where are you from? Hello! My name is Jen-Shuo Chen, I’m from Taipei, Taiwan. I started as a bass player 7 years ago, I played metal, jazz, funk, indie and almost any kind of music. After playing in several bands and recording sessions, I decided to move to film scoring in 2015. Which combines 2 of my favorite things, music and movies! So I prepared for a year and got into UNC School of the Arts to study Film Music Composition and got my master degree. Those experiences from band to classical make me able to analyze and write in almost any genres, being able to do this is one of my goals as well, because you’ll never know what your client wants for their films. As a TV composer in Taiwan, being able to write in different styles definitely helps a lot. For my personal projects, I recently wrote a lot of orchestral classical and electronic hybrid minimalism, ambient music.
We create the colorfully expressive backdrop, interpretive musical signature and sound synergy that surrounds and excites your creative concept, your advertising/promotional and marketing vision; delivering on our promise of a captivating and memorable product messaging experience, uniquely created to embrace and stimulate the palate of your target consumer audience. See extra information at https://www.rhythmcouture.com/.