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You should set up your own artist or band Website. You may acquire your own band or artist Domain Name and purchase Web hosting from my Web Services Site at Atomicav.net: http://www.atomicav.net If you purchase a domain from my Website (available for $9.99 or less with FREE e-mail using your domain) you will have access to FREE Atomic Sound & Media sponsored hosting or you may purchase a non-sponsored hosting account for as little as $9.95 per month. In addition to your own Website you should set up personal, band or songwriter contact pages at any or all of the Web sites below. You may sell or license your songs at some of them. http://www.fanbridge.com http://www.ilike.com http://www.garageband.com http://www.audiostreet.net http://www.cdbaby.com http://www.sonicbids.com http://www.myspace.com http://www.purevolume.com http://www.starpolish.com http://www.soundclick.com http://www.broadjam.com http://www.facebook.com http://www.youtube.com http://www.thesixtyone.com http://www.netvibes.com http://www.blip.tv http://www.createspace.com http://www.linkedin.com http://www.mymusicsource.com http://www.pumpaudio.com http://www.rumblefish.com http://www.jukeboxalive.com http://www.suurge.com http://www.isound.com http://www.youlicense.com http://www.muzlink.com http://www.wemix.com http://www.tunecore.com http://www.tarniusmusic.com http://airplay.jango.com http://www.talenttrove.com http://www.fancorps.com http://www.last.fm http://www.mp3.com http://www.musicxray.com http://www.reverbnation.com http://www.biigpiic.com http://gigzee.com http://www.tribeofnoise.com http://www.bebo.com Here is Pink's page on BeBo: http://www.bebo.com/Profile.jsp?MemberId=7767100853&TUUID=232a4020-b038-477a-bd96-aceb2a51e880 http://www.nimbit.com/products http://www.getsigned.com http://www.indieonthemove.com A&R Select: http://arselect.ning.com http://musiclicensingstore.com/submit_music.shtml http://www.realpeoplerealstuff.com http://www.hamptonroadsmusic.com
Singers should set up free voice over listings and/or standup narration acting listings at these Web sites: http://www.voice123.com http://www.voices.com http://www.vocentral.org http://www.actorscentral.org . . . . . . . . . . . . . . . . . . . . . . . . . . | | Recommended reading if you want to pursue song writing, music publishing & licensing 
Music Publishing: The Real Road to Music Business Success Tim Whitsett Paperback ISBN: 193114009X Price: $49.99  Music Money and Success Jeffrey Brabec, Todd Brabec Paperback ISBN: 0825673267 Price: $24.95  The Musician's Business and Legal Guide Mark E. Halloran, Beverly Hills Bar Association Committee for the Arts, Mark Halloran, Paperback ISBN: 0130316814 Price: $41.00  All You Need to Know About the Music Business Donald S. Passman, Randy Glass (Illustrator) Hardcover ISBN: 0743293185 Price: $24.00  2009 Songwriters Market Greg Hatfield Paperback ISBN: 9781582975474 Price: $29.99  New Songwriter's Guide to Music Publishing Randy Poe Paperback ISBN: 1582973830 Price: $18.99  Craft & Business of Songwriting John Braheny Paperback ISBN: 1582974667 Price: $22.99 Recommended Websites for music equipment, instruments, and music software: http://www.musiciansfriend.com http://www.americanmusical.com http://www.sweetwater.com Music licensing info: http://www.ascap.com http://www.bmi.com http://www.sesac.com
http://www.copyright.gov http://www.taxi.com http://www.harryfox.com Music Copyright Information A Selection of Types of Copyrights & Licenses Public Performing Right The exclusive right of the copyright owner, granted by the U.S. Copyright Law, to authorize the performance or transmission of the work in public. Public Performance License The license issued by the copyright owner or his agent granting the right to perform the work in, or transmit the work to, the public. Reproduction Right The exclusive right of the copyright owner, granted by the Copyright Act, to authorize the reproduction of a musical work as a record, cassette or CD. Mechanical License The license issued by the copyright owner or his agent, usually to a record company, granting the record company the right to reproduce and distribute a specific composition at an agreed upon fee per unit manufactured and sold. Synchronization License The license issued by a copyright owner or his agent, usually to a producer, granting the right to synchronize the musical composition in timed relation with audio-visual images on film or videotape. Digital Performance Right in Sound Recordings The exclusive right of the owner of the copyright in a sound recording (which is separate from the copyright in underlying musical works), granted by the U.S. Copyright Law, to authorize certain digital transmissions (e.g., Internet streaming). Music Royalties / Licensing - Frequently Asked Questions
1. What is the current statutory mechanical royalty rate? How is it calculated?
The current statutory mechanical royalty rate is currently $.091 (9.1 cents) per song per unit for recordings of compositions up to five minutes (5:00) in length. For example, if one were to make a recording of a song that is less than five minutes in length (e.g. 3:30) and then manufacture and distribute 1,500 units of the recording, the total amount of royalties due would be $136.50. ($0.091 X 1,500 units = $136.50). For songs over five minutes in length, the rate is based upon $.0175 (1.75 cents) per minute or fraction thereof as demonstrated below:
5:01 to 6:00 = $0.105 (6 X $.0175)
6:01 to 7:00 = $0.1225 (7 X $.0175)
7:01 to 8:00 = $0.14 (8 X $.0175) For example, if one were to make a recording of a song that is six minutes and thirty seconds in length (6:38) and then manufacture and distribute 1,500 units, the total amount of royalties due is $183.75. ($0.1225 X 1,500 units = $183.75). Any reduced rates must be negotiated directly with the copyright owner, publisher, or administrator prior to obtaining the mechanical license.
2. What are synchronization rights?
A synchronization license is a written authorization to use recorded music in combination with visual images such as film, television, video, websites, and the like. 3. Where does one find publisher information in order to obtain licensing for a song? You may use the following databases on the Web to locate publisher information: 4. How does one obtain print rights for sheet music? You may secure print rights by contacting the publisher directly.
5. How does one obtain public performance rights? A publisher may assign its public performance rights to one of the three following societies, in which case you may secure performance rights from that society: http://www.ascap.com
http://www.bmi.com
http://www.sesac.com
6. How does one obtain sound recording or "master use" rights?
Master use rights are required for previously recorded material that you do not own or control. They can only be obtained from the owner of the master recording, usually a record company. You should obtain the master use license from the owner prior to requesting a mechanical license.
7. How does one license a recording with samples?
Sampling is (1) the use of pre-recorded material within another recording, which requires a master use right and/or (2) the use of a portion of a musical composition that you don't own or control within another recording, which requires permission from the owner. Licenses for master use rights or licenses for the use of a portion of a composition can only be obtained, respectively, from the owner of the master recording, usually a record company and the publisher directly.
8. How does one license at a reduced rate?
Any reduced rates must be negotiated directly between you and the copyright owner, publisher, or administrator prior to obtaining the mechanical license. Once you obtain written permission for the reduced rate, you can obtain a license by submitting the original copy of that written permission with a standard mechanical license request. A gratis license (no royalties paid) is also considered a reduced rate. 9. Does one still need a license for recordings if I'm not selling them? Unless you are creating recordings that are covered under the fair use section of the U.S. Copyright Act, you need to obtain licenses for your recordings regardless of whether or not you are selling them. 10. What is "Fair Use"? Some unlicensed uses of copyrighted material may be considered "fair use" under Section 107 of the U.S. Copyright Act, which outlines factors to consider in determining fair uses of a copyrighted work. (http://www.copyright.gov/title17/chapter01.pdf). Generally, this includes uses for educational purposes and for criticism or commentary (reviews in newspapers, for example.) "Fair use" does not include small quantity recordings or charity or religious organizations; nor does it exempt recordings that you are distributing without charge. Unless you are sure that your usage falls under Section 107, you should obtain proper licenses for your recording. 11. How does one license for digital uses other than single DPDs (permanent digital downloads)? Mechanical licenses may and should be obtained for full album downloads, on-demand streams, limited downloads, ringtones, mastertones and ringbacks, digital jukeboxes and digital background music services. 12. How does one license a new arrangement of a copyright-protected song, or a medley? A new version or arrangement of an existing song that alters the melody or character of the song, or a medley of existing songs, is called a derivative work. You need to obtain permission from the publisher directly to create a derivative work, and include that permission when you apply for a mechanical license. 13. How does one license songs for karaoke? From the publisher directly. 14. What is a UPC code and how can I obtain one? The UPC (Universal Product Code or bar code) is issued by the Uniform Code Council (UCC). This is not required to obtain a mechanical license but a UPC code is required in most point of sale and retail environments. 15. What is an ISRC and how can I obtain one? The ISRC (International Standard Recording Code) is the international identification system for sound recordings and music video recordings. Each ISRC is a unique and permanent identifier for a specific recording which can be permanently encoded into a product as its digital fingerprint. You can obtain more information about ISRC at http://www.ifpi.org/isrc/. Music Clearance concerning video, film and other visual media The type of license required for using music in visual media is called a synchronization license, because it permits recording music in "synchronization or timed relation" with a moving image. The US copyright act distinguishes between recorded music mixed in with visual media. Congress gave copyright owners the absolute and exclusive authority to permit, set costs for, or prohibit visual uses with music, doing so may transform the song’s meaning.
1. WHEN DO I NEED TO GET A LICENSE?
If you are using a copyrighted piece of music (music owned by another) and if you are making a reproduction of that music in connection with the following, you must get permission to use the composition from the copyright owner:
| Commercials
Karaoke
Television Programs
Motion Pictures
Theatrical Productions
Music Boxes
Corporate Videos | Samples
CD's / Cassettes
Adaptations
Computer Software
Parodies
Printed Sheet Music
Internet | There may be other instances where a license is required. When you are considering the use of any copyrighted music, you should seek the advice of a professional music clearance and licensing company or music attorney experienced in the intricacies of music licensing.
2. WHAT KIND OF LICENSE DO I NEED?
Your particular requirements for the use of the music will dictate the type of license you will need. In all cases, however, you will have to contact the copyright owner or the person who controls the rights to the composition. If you are using a sound recording you must obtain a license from the owner of that specific recording. If you are licensing a song for use in a motion picture with the potential for the song to be released on a soundtrack album, pre-existing songwriter agreements and record contracts may have a profound impact on secondary-use licenses. There are several different types of licenses that you may need, depending upon your specific requirements: · Synchronization License · Master Recording License · Mechanical License (for CDs, cassettes, record albums) · Videogram License (for video cassette, optical laser disc, home video product) · Print License (sheet music, music folios) · Grand Rights License (permission to perform a song dramatically) · New Media License (computer software, Internet) · Performance License (permission to perform a work publicly) 3. WHAT IS A SYNCHRONIZATION LICENSE AND HOW IS IT DIFFERENT FROM A MASTER RECORDING LICENSE?
Often referred to as a "Synch" license, a Synchronization License allows the user to reproduce a musical composition "in connection with" or "in timed relation with" a visual image, e.g., motion picture, video, or an advertising commercial. For example, if you wish to use a song and record it yourself for a TV commercial, you must first obtain a Synchronization License from the copyright owner of the music.
However, if you want to use the original song recorded by the artist then you must also obtain a Master Recording License from the copyright owner of the sound recording. There is a distinct difference between a Synchronization License and a Master License, requiring two separate negotiations. If you need the master rights, you must always secure the synch rights along with it. However, you may choose to rerecord the song to your specifications, in which case you will only be required to obtain the "Synch" rights.
4. CAN I CHANGE THE LYRICS?
NO! Not even one word! Most composers feel very protective about their songs and rightly so. If it is your intent to make any lyric changes, or any adaptation of the music, you must first get permission from the copyright holder. This will, more than likely, necessitate obtaining permission directly from the composers, their management, their attorneys or their estates. Parody lyrics must go through the appropriate approval process before incorporating them into the song.
5. HOW DO I GO ABOUT GETTING A LICENSE?
The process of licensing begins with extensive research into the ownership of the composition and/or the actual recording you are contemplating using. It is extremely important that you have a clear idea of the nature and scope of the terms that you need. Once it has been determined what type of license is required for your project, the task of clearing the music and negotiating the license begins. It is advisable to consult a music clearance and licensing expert as early as possible to help you determine your licensing needs and to commence the licensing process.
6. HOW LONG DOES IT TAKE?
Many factors contribute to determining how long it will take to negotiate a license. Depending upon the particular song and the scope of the license, it may take anywhere from a few days to several weeks to research, negotiate and finalize a music licensing agreement.
Numerous companies administer the copyrights for artists and publishers. In most cases, there are contractual obligations that must be adhered to when discussing license fees with potential users of music. The composers or their estates may need to be contacted directly for approval. Attorneys are often involved in the decision making process. In cases, where an obscure song or recording has been chosen, just finding out who owns the copyright can be a task unto itself.
Using an established music clearance and licensing company can speed the process of obtaining a favorable license. Most companies that specialize in music clearance and licensing have extensive experience and established relationships with music publishers, attorneys, record companies and music business affairs executives. Knowing what questions to ask, how contracts should be structured, and how to deal with problems arising from a complex set of circumstances will result in a speedy and successful conclusion to your music licensing project.
7. WHAT ABOUT UNION FEES?
If you choose to license an existing recording of a song, in most cases, you will be obligated to pay certain union and/or guild costs in addition to the synchronization and master recording license fees. These are generally considered re-use fees since you are taking an existing recording and re-using it for another purpose. In such cases, you may be required to pay musicians' fees through the American Federation of Musicians (AFM) and singers through SAG and/or AFTRA. Appropriate parties must be contacted to determine the specific fees.
8. WHAT IS A SOUND-ALIKE?
A sound-alike is a recording which mimics the unique sound or style of a particular recording artist. Unless specific permission is granted in advance, sound-alikes should be avoided at all cost. Even if you have obtained a synchronization license, this does not entitle you to make a sound-alike recording similar to the original. Many lawsuits have been won by the original performer in sound-alike cases.
9. HOW DO I KNOW WHETHER OR NOT A COMPOSITION IS IN THE PUBLIC DOMAIN?
A work is in the public domain if copyright protection has expired or if copyright protection was never secured. Determining whether a work is in the public domain is actually a complicated legal issue based on copyright laws which differ in many countries. A work that is in the public domain in the United States may be protected elsewhere. Arrangements of public domain works may also be copyrighted.
Unfortunately, there is no resource to definitively identify PD material. One must be extremely cautious before assuming that a work is in the public domain. The issue of public domain status, duration of copyright and copyright renewal is very complex and these issues must be researched very carefully to avoid copyright infringement.
10. WHY CAN'T I LICENSE THE SONG I WANT TO USE?
It is possible that a request for a license may be denied. Denial can be for many reasons. The composer may not want to associate himself with a particular product or project. In some instances, the publisher may feel that the exposure of the song will preclude its future use by someone else. In other instances, the cost to license a particular piece of music may be prohibitive. You may also find that the song you wish to use is currently licensed by someone else who has contractually restricted its use by others.
You may want to consider an appropriate alternative composition, taking into consideration your creative and budgetary requirements. |
Music Advice
