Sync Agreements

“Don`t sign anything until you have a lawyer to check!” This is a warning in show business that is now more valuable than ever. Reading the following article, in part from his new book The 11 Contracts That Every Artist, songwriter and producer Should Know, entertainment lawyer Steve Gordon will explain how to move forward, what you should pay attention to and the questions you should ask the next time a sync agreement arrives. I wrote a song with a co-author, but I produced the song myself so that I own the master. So my question is this: if I have co-authors, but I own the master, I still need the permission (a written agreement) of the co-authors or can I enter into a synchronization agreement without their agreement/collaboration (as long as I pay my co-author their 50% share of the songwriter`s fee if I pass them?) For those of you new to the world of licensing, the music sync license, or short “Sync,” is a music license granted by a band or musician, allowing a third party to sync the music with film, TV, commercials, video games, trailer, etc. Some of the best-known groups can attribute their success to a sync placement. Music animators play an important role in the synchronization licensing process and understand how music can vibrate with their targets to sell products or create emotions. Among the most successful Sync marketing licensing placements is: In this part of the series, however, we will look at Sync and Master licenses from the perspective of songwriters and artists who have not entered into exclusive publication or recording agreements. Since an indie artist does not have a publisher or label to negotiate synchronization and master`s licenses for her, she should have her own lawyer or, at the very least, have enough knowledge to avoid bad contracts. If you are familiar with Sync Business, you know that there are many companies that are willing to represent your music for internships. Pump Audio is one. Some are more selective than others, and some are more proactive than others in buying your music. Music libraries such as APM Music, for example, have regular customers who constantly scan the library`s collection on interstitial or background music.

Customers may include cable networks and advertising agencies. Employee fees range from 65% (in the case of Pump Audio) to 20%. Or, even less so if a representative really likes your music. The third part of the 11-part series on the basic chords of the music industry focuses on the use of music in audiovisual works such as films, television, television spots and video games. In the following introduction, basic concepts are explained and examples of the amounts you can expect. It also explains the role played by performing rights organizations (PROs) in raising additional revenue on behalf of songwriters.

This entry was posted in Uncategorized by admin. Bookmark the permalink.