The talking points on Music Licensing from the Band Business Crash Course held at the Plea for Peace Center on Nov. 3, 2012. Presented by the Pacific Music Management Club, faculty and alumni.

1. MUSIC LICENSING: EARNING
REVENUE WITH YOUR SONGS
Band Business Crash Course
November 3, 2012
Dana Myers, Esq.

2. LICENSING: WHAT IS IT?
 Permission from the copyright owner to use their
work
 Bundle of Rights
 Licenses can be bought and sold
 Types of Payment
 Flat fee
 Royalty
 Exclusive vs. Non-exclusive
 Any and every time you hear music, in theory, the
copyright owner (or his/her representative) has
licensed that right to use their music

3. TYPES OF LICENSES
 There are a variety of licenses for different types of
uses of your music.
 Mechanical License: song copyright
 Royalties are usually based on the statutory rate, which is
currently 9.1 cents for songs under 5 minutes, and are due for
every record “manufactured and distributed.”
 Master Use License: sound recording copyright
 Royalties are negotiated with the master owner, and for
popular recordings, can get very expensive
 Public Performance: song copyright
 Royalties based on the amount of times your song is played
 Synch: use of your music to synchronize with, or relate
to, something visual on a screen
 Fee is based on the length of the song, the manner of use, and
the intended reach (ex. national/regional) of the video

4. PERFORMING RIGHTS ORGANIZATIONS
 Performing Rights Organizations (PRO) act as
intermediaries on behalf of copyright owners to
track and collect payments for the public
performance of your songs
 The more your song is played, the more you will
earn
 There are 3 Performing Rights Organizations in the
United States. Each has its own website with
detailed information about the organization.
 ASCAP
 BMI
 SESAC

5. PUBLISHERS
 Music publishers exploit your songs by finding
potential users, issuing licenses, collecting
fees, and paying the writers.
 Copyright owner will license certain rights to the
publisher
 Publishers generally charge 50%
 Until you get “picked up” by a publisher, you have
the right to license your own music
 Many publishers do not accept unsolicited materials

6. LICENSING YOUR MUSIC
 Network!
 Songwriter workshops and competitions
 Become known locally before moving into a bigger
market
 Prepare a demo
 Social Media/Promotion
 Be patient!

7. EXERCISE
 Match the genre of music with the most appropriate client
(aka the “licensee”)
 Metal a) documentary on medical marijuana clinics
 Classical b) TV show about the history of the piano
 Reggae c) Reality TV show in tattoo parlor
 Alternative Rock d) slow-paced short film in Iceland’s rolling hills
 Ambient Electronicae) TV show about indie band making it in the biz
 In order for your musical act to cover a song that has
already been released by another singer/songwriter, what
kind of license do you have to obtain, and to whom does
the money go?
A. Mechanical license; original artist’s manager
B. Mechanical license; original writer’s publisher
C. Master use license; original artist’s record label
D. Synchronization license; original artist’s producer
E. Master use license; original writer’s publisher