Recording - March 2013 - 51

MARCH 2013
TAXI Road Rally 2011

Meet the Houlihans, Part 3
Moderated by Michael Laskow
John Houlihan – Music Supervisor and
Composer
Kevin Houlihan – Composer, Songwriter,
Music Supervisor and Coordinator
Julie Glaze Houlihan – Music Supervisor, Music Editor
Patrick Houlihan – Composer, Music
Supervisor, and V.P. of Music at Fox Films
Kevin, from the musician perspective, last night
I had a TAXI member that I’m well aware of stop
me in the hallway and asked if I had a minute.
We talked and he said, “I’ve been offered a deal
from a library,” —it was a really strong library
that we all know—“and they want my song in
perpetuity,” which means forever, that the copyright is not going to revert back to the writer.
In the old world of music publishing as it
related to record labels, sometimes a publisher
might sign something on a two-year, threeyear, maybe even a five-year reversion,
meaning that if the publisher couldn’t get it cut
by a major artist, then eventually the copyright
would revert back to the songwriter.
In the music library world, stuff could go out on
the hard drive all over the globe, or it could go
out on CD and end up in a thousand production
companies and edit bays. So there there’s a
good case to be made for “we want your stuff in
perpetuity,” because we can’t pull it back off
the street. As somebody who has had music and
film and TV as an artist or writer, how do you
feel about the whole perpetuity thing? Is it
offensive? Or do you understand it and think it’s
cool?
Kevin: I personally think it’s a little crazy. I
wouldn’t want to give my publishing away
forever on anything. For a few years maybe…
I think sometimes they do deals that are like
two-year deals or five-year deals. I think
that’s OK, because it is a lot of work for a
library to get you into their system, to get all
the metadata correct, to figure out what to
pitch you for. They can open up some doors

for you and get you placements. I think that’s
great. 50% of something is better than 50% of
nothing. But to give your rights away for perpetuity or forever is just I think too much to
ask for.
You would still keep the writer’s share, but they
would keep the publishing share.
Kevin: Yeah. You never know, you may not
be working with them five years down the
road. Or you may just go back and want to do
it all yourself, or have a different agency
doing it or…
And what would you say to the argument if I
wanted to counter that with, “Well, it’s just one
song. I’m gonna write three more this month or
20 more this year. That’s just one?” Should the
person making that decision, judge on their output if they’re really prolific and do a lot of stuff?
Maybe it’s more applicable even to instrumental
stuff, because instrumental guys seem to crank
stuff out more like on a daily basis, whereas an
artist who’s doing songs with lyrics might do
one or two a month. Is it a hard, fast rule in your
judgment to always say no to perpetuity? Or are
there cases where you might go…
Kevin: It’s different for everybody, but I personally am not a fan. I wouldn’t want to do it
myself.
Julie: That is a good distinction, though,
about the instrumental versus the artist,
because the instrumental stuff, if somebody’s
gonna market that for you and work it for
you—especially somebody with a global
reach—I would do it. If it’s your favorite
song, the best song you ever wrote, maybe
not.
John: I’d also like to advise artists to create
specific music that you make for media. You
have your artist side, and you might even create things that are a little bit more pure
genre-wise, or more simplified than your normal artist songwriting and composing.

The Brady Bunch? No, it’s the Houlihan clan: John (upper left),
Kevin (upper right), Julie (lower left), and Patrick (lower
right).

Maybe that’s the stuff that’s for TV or film
placements.
I think that’s a great point.
Kevin: I think the point of instrumentals is
really important too. I think every artist
should make sure that when they are finishing a mix that they are burning instrumental
versions of that song. It’s usually the first
thing that anybody that’s going to be trying
to use it in a film—particularly an editor—is
going to want to be able to have more play
with the song, to be able to take certain
melodies or guitar lines or things, to be able
to play parts of the song where maybe the
vocals or the lyrics are not on target for the
scene, but the chorus works great.
If they’ve got an instrumental version, they can
cut back and forth between the vocal version
and the instrumental, and slip the instrumental
under dialog.
Kevin: Things move so quickly that you can
lose a deal by not having an instrumental ver-

Continued on page 52
51



Recording - March 2013

Table of Contents for the Digital Edition of Recording - March 2013

Recording - March 2013
Fade In
Table of Contents
Talkback
Fast Forward
Behringer X32
MXL CR30 Large-Diaphragm Condenser Microphone
Plug-in Performance on Windows-based DAWs
Steinberg CMC Series USB Controllers For Cubase
Recording’s Showcase of Sounds: Rob Papen Punch
Plug-in Outlet: 2C Audio B2
Universal Audio Precision K-Stereo and Shadow Hills Mastering Compressor
Big Money Drums—Part 2
Reviewed & Revisited: Acoustica Mixcraft 6
Plug-in Outlet: Massey Plugins CT5 Compressor
The Mixing Workshop: Better Mixes Through Creative Editing—Part 2 (The Band)
Readers' Tapes
Kush Audio Clariphonic Parallel Equalizer and Clariphonic DSP Plug-in
Plug-in Outlet: Eventide H3000 Factory
Reviewed & Revisited: iZotope Alloy 2
Recording Fundamentals. Chapter 15: Sweet Spot Conundrums—Part 2
Plug-in Outlet: PSP Audioware PSP BussPressor
Advertiser Index
Fade Out
Recording - March 2013 - Recording - March 2013
Recording - March 2013 - Cover2
Recording - March 2013 - 1
Recording - March 2013 - 2
Recording - March 2013 - 3
Recording - March 2013 - Fade In
Recording - March 2013 - 5
Recording - March 2013 - Table of Contents
Recording - March 2013 - 7
Recording - March 2013 - Talkback
Recording - March 2013 - 9
Recording - March 2013 - Fast Forward
Recording - March 2013 - 11
Recording - March 2013 - 12
Recording - March 2013 - 13
Recording - March 2013 - Behringer X32
Recording - March 2013 - 15
Recording - March 2013 - 16
Recording - March 2013 - 17
Recording - March 2013 - 18
Recording - March 2013 - 19
Recording - March 2013 - MXL CR30 Large-Diaphragm Condenser Microphone
Recording - March 2013 - 21
Recording - March 2013 - Plug-in Performance on Windows-based DAWs
Recording - March 2013 - 23
Recording - March 2013 - 24
Recording - March 2013 - 25
Recording - March 2013 - 26
Recording - March 2013 - 27
Recording - March 2013 - Steinberg CMC Series USB Controllers For Cubase
Recording - March 2013 - 29
Recording - March 2013 - Recording’s Showcase of Sounds: Rob Papen Punch
Recording - March 2013 - 31
Recording - March 2013 - 32
Recording - March 2013 - 33
Recording - March 2013 - Plug-in Outlet: 2C Audio B2
Recording - March 2013 - 35
Recording - March 2013 - Universal Audio Precision K-Stereo and Shadow Hills Mastering Compressor
Recording - March 2013 - 37
Recording - March 2013 - 38
Recording - March 2013 - 39
Recording - March 2013 - Big Money Drums—Part 2
Recording - March 2013 - 41
Recording - March 2013 - 42
Recording - March 2013 - 43
Recording - March 2013 - Reviewed & Revisited: Acoustica Mixcraft 6
Recording - March 2013 - 45
Recording - March 2013 - Plug-in Outlet: Massey Plugins CT5 Compressor
Recording - March 2013 - 47
Recording - March 2013 - The Mixing Workshop: Better Mixes Through Creative Editing—Part 2 (The Band)
Recording - March 2013 - 49
Recording - March 2013 - Readers' Tapes
Recording - March 2013 - 51
Recording - March 2013 - 52
Recording - March 2013 - 53
Recording - March 2013 - 54
Recording - March 2013 - 55
Recording - March 2013 - Kush Audio Clariphonic Parallel Equalizer and Clariphonic DSP Plug-in
Recording - March 2013 - 57
Recording - March 2013 - Plug-in Outlet: Eventide H3000 Factory
Recording - March 2013 - 59
Recording - March 2013 - Reviewed & Revisited: iZotope Alloy 2
Recording - March 2013 - 61
Recording - March 2013 - Recording Fundamentals. Chapter 15: Sweet Spot Conundrums—Part 2
Recording - March 2013 - 63
Recording - March 2013 - Plug-in Outlet: PSP Audioware PSP BussPressor
Recording - March 2013 - Advertiser Index
Recording - March 2013 - 66
Recording - March 2013 - 67
Recording - March 2013 - 68
Recording - March 2013 - 69
Recording - March 2013 - 70
Recording - March 2013 - 71
Recording - March 2013 - Fade Out
Recording - March 2013 - Cover3
Recording - March 2013 - Cover4
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