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(Difference between revisions)
(Created page with '==Music Licensing== [http://www.chicagonow.com/blogs/becoming-nikki-lynette/2010/03/music-licensing-for-dummies-smarties-and-the-rest-of-us.html Music Licensing For Dummies, Sma…')(One intermediate revision not shown) Line 4: Line 4: [[Music Licensing Libraries]][[Music Licensing Libraries]]+ + [http://www.berklee.edu/pdf/parents/music-industry-salaries.pdf Music Industry Salaries] (PDF) by the Berklee Career Development Center+ + ----+ From [http://emusician.com/tutorials/production_music_contracts/ emusician]:+ + You should always ask to receive 100 percent of the writer’s share of performance royalties associated with licensing your work. (The writer’s share is typically 50 percent of the total performance royalties earned; the remaining 50 percent is the publisher’s share, which the production-music company typically receives.) The contract should specify that you’ll be paid your performance royalties directly by whichever performing rights organization (PRO) you belong to (BMI, ASCAP, or SESAC in the U.S.).+ + Make sure the contract states that you’ll get paid royalties quarterly (four times per year) and grants you audit rights.+ + The majority of revenue is earned from synchronization fees. A sync fee is money paid by a producer for the right to synchronize music to, for example, a motion picture for theatrical release, a video in a commercial TV ad, or images and animation in a videogame.[[category:Music]][[category:Music]][[category:Business]][[category:Business]][[category:Publishing]][[category:Publishing]]Current revision as of 04:24, 6 January 2011
Music Licensing
Music Licensing For Dummies, Smarties, and The Rest of Us., Chicago Now
Music Industry Salaries (PDF) by the Berklee Career Development Center
From emusician:
You should always ask to receive 100 percent of the writer’s share of performance royalties associated with licensing your work. (The writer’s share is typically 50 percent of the total performance royalties earned; the remaining 50 percent is the publisher’s share, which the production-music company typically receives.) The contract should specify that you’ll be paid your performance royalties directly by whichever performing rights organization (PRO) you belong to (BMI, ASCAP, or SESAC in the U.S.).
Make sure the contract states that you’ll get paid royalties quarterly (four times per year) and grants you audit rights.
The majority of revenue is earned from synchronization fees. A sync fee is money paid by a producer for the right to synchronize music to, for example, a motion picture for theatrical release, a video in a commercial TV ad, or images and animation in a videogame.
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