Following the release of our Sync Portal. We are providing members with a series of blog posts to encourage you to get Sync ready. This blog is the 3rd in the series following on from Music Metadata for Sync and Mixing and Mastering. This blog will tell you all you need to know about music rights.
Keep on reading for everything you need to know!
There are a lot of elements that go into creating a piece of music. It is important that as someone who shares their art with other people, it’s only fair that you receive the credit for doing so. And you protect your creation.
In this section, we will go through the different elements of copyright on a piece of music. So what are all these various rights? Well, the main ones are:
In short, it is the right to take and copy a song. And by extension the recording of that song, and “synchronise” it to visual images. Which could be film, TV, still images, stop-motion, animation, CGI, computer games, adverts, audio-visual projects for example.
The Sync fee is an upfront cost paid for the use of a piece of work. The amount varies depending on various contributing factors. One being your establishment as an artist. The other how the song is used within the media meaning the length of time. The territories in which the track will be heard etc.
It’s important to note that PRO’s do not usually deal with the sync fee and for a smaller independent artist the price of the sync fee can vary. However, placement in a good tv show or on an advert can be pivotal in getting your song or recording heard. Queue constant streams of that song on that advert. To ensure you’re making money from that you should register with a PRO.
PROs collect the royalties whenever your music or recordings are played publically. They do so by giving a unique code to each song or recording you register. So, for example, the PRS can track the use of songs in this way by the ISWC code. The PPL and MCPS/PRS for Music can track mechanical royalties via the ISRC code. Essentially a unique identification number for each recording.
These codes help distinguish your music or your recording from similarly titled songs and recordings by other writers/artists. They also provide metadata.
PROs will pay directly to their members; for the PRS this is both writers and publishers and for the PPL producers/artists and record labels. Primarily they deal with revenue generated from television and radio use. As well as live performance.
PROs will split the royalties 50/50 between the registered songwriter and publisher. Or the producer/artist/performers and the record label.
Often a PRO will charge a fee to issue a blanket license. The license allows the applicant typically a broadcaster to use the music and recordings represented.
MCPS/PRS for Music tracks the royalties in a similar way using the ISRC code. It determines when your recording is duplicated. And is paid by record labels and streaming companies.
The royalties are received by a publisher and songwriter. Often a songwriter will split this with those who performed on the track to ensure that everyone is paid fairly.
Want to get your music out there the best way possible? Check out our article on Your Checklist For How To Release Music!
If you are looking for a platform that offers everything you need in one place, why not try Music Gateway? We can help with promoting your music, music marketing, improving your streaming presence and providing Sync opportunities. Try it out for free today by clicking the button below.
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