Now for the glass half full perspective. Music is special. It speaks to us all. We all want to hear a great song and share the ones we love with others. We are fans of music and we value it. We spend money and/or time hunting for and listening to music that moves us.
Even as artists increasingly either release their own records, or work in partnership with their manager to do so, there is still a need to understand both the historical and emergent types of deals. This article presents a framework that delineates the differences between the most prominent types of deals. Future articles will look more closely at the contractual elements of each.
Upcoming chapters: Part VI: The Hills are Alive…..
In addition to the framing of “unsigned” artists as a lower or less valuable class, the laws in this country specifically created to protect copyright holders and artists can now inadvertently create obstacles for opportunity, revenue collection and legitimization.
As a starting point, in the U.S., any entity that wants to license music for TV, film or internet to “synchronize” with a moving image (called a “synch” license) usually starts by finding the music and then going to the websites of one of the three U.S. public performance agencies ( ASCAP, BMI or SESAC). This allows the licensing entity to learn who controls the master and publishing rights. It also allows the licensing entity to make certain they are complying with U.S. laws by paying – via the performance agency – for any public performances.
Meet The Ambient Society featuring Spades, an orchestral/electro-charged duo who consist of Mauritz Kop and Joshua Spades. Although they live on 2 different continents, Europe and Australia, the distance between them surely adds to their spatial symphonic sounds, dreamlike vocals and layered synth effects. Of course, having a classical background and vast knowledge of recording and mixing helps to bring their sound into full bloom. Read what they had to say about recording and promoting their music.