Recording - November 2020 - 63

NOVEMBER 2020
TAXI Road Rally 2019

Understanding Music Library Contracts
Part Three
PANELISTS:
Erin Jacobson
Bob Mair
Pedro Costa
Michael Eames
Moderator: Michael Laskow
This questions is for Michael Eames, because he
has given the single best explanation I've ever
heard when I had you and Bobby Borg on an
episode of TAXI TV. I so badly want more indie
filmmakers to run listings with TAXI. The ones
who do are always super-happy, and it's not
unusual that three, four, five, as many as eight
pieces of TAXI-member music have been placed
in a single indie film. We've had really good
luck with films on the Hallmark Channel as
well.
But when I reach out to the indie filmmakers,
many of them say, "Oh, I only use royalty-free
libraries." And there is such a grotesque misunderstanding of what royalty-free is. When I see
a TAXI member post on our Forum, "TAXI didn't
forward this song; however, I got it picked up
by a library on my own. Very often, when I do
the research, I find out that they are in
royalty-free libraries, which in many cases, in
my personal opinion, are a lower tier of music
libraries. It's more like a parking garage with a
bunch of stuff where you can go in and pick it,
the prices are cheaper, the music isn't curated
very well-if at all-the quality isn't there.
You get what you pay for in most instances.
So I've been on a mission to educate ... indie
filmmakers think that when something is not
royalty-free, that when royalties are paid, that
they're going to have to write a royalty check
on a quarterly basis. They don't understand
that there are PROs that collect this money,
assuming that it's outside of a theatrical situation. They really don't get it, so can you

Erin Jacobson, Bob Mair, Pedro Costa, and TAXI's Michael
Laskow are all smiles after they wrapped their panel. Michael
Eames is on the laptop.

explain to our audience what royalty-free
means?
Michael: Yeah. Well, and of course you
can tell me if I give you the same answer as
the one you remember. But to me, there are
a couple of misnomers in that terminology.
Let's say that the filmmaker's perspective is,
"Oh, I only use royalty-free music." Well, the
first misnomer that everyone needs to
understand is that, really, that you are using
music for which there is no upfront sync fee.
A royalty-free music library is not going to
charge on the upfront, but they are
absolutely going to get paid royalties on the
backend, otherwise they're not making any
money, and they're certainly not a charity.
But I would say generally, I would agree with
you; most of the royalty-free music libraries
that are not going to get paid an upfront fee
don't historically have the greatest quality of

music. And I would certainly explain to a
filmmaker, "Hey look, you know you paid
for the lighting, you paid for the costumes,
you paid for the catering... Even if you cut a
deal and you didn't pay full rate, as it were,
like you still paid something that you didn't
think twice about paying for it. So there's a
value in paying something for music to feel
that you are getting the quality high enough
of what you feel is appropriate for what
you're doing."
And then the second aspect, which you've kind
of already really debunked, which is making
sure they realize that once they have that
license, all those backend royalties, they [the
filmmakers] aren't responsible for it. So it is
whatever the outlet that picks up their film,
Continued on page 64
RECORDING November 2020

63



Recording - November 2020

Table of Contents for the Digital Edition of Recording - November 2020

Fade In
Fast Forward
MicParts.com T-25 Microphone Kit
Reviewed and Revisited: PreSonus Studio One 5 Professional
RECORDING’s Show and Tell: Studio Upgrades
Arturia AudioFuse Studio
ADAM Audio T8V Active Studio Monitor
(Just Like) Starting Over: Remixing John Lennon with Paul Hicks, Simon Hilton, and Sam Gannon
IK Multimedia ARC System 3
Once Over: Kali Audio MV-BT
Once Over: Hosa SuperSpeed USB3.1 (Gen 2)/SuperSpeed USB 3.0 cables
Inside the Studio with Mark Hornsby: Amplifier Profiling with Carl Verheyen
TASCAM Model 12 Production Mixer
Reviewed and Revisited: Steinberg SpectraLayers Pro 7
Amphion Amp700
Now Mod This! The joys and satisfaction of mic modding
Audeze LCD-X Reference Headphones/Audeze Reveal+Headphone Plugin
Glyph Atom Pro NVMe 1TB Thunderbolt 3 SSD/Blackbox Pro 2TB HDD/StudioRAID Thunderbolt 2 4TB HDD
Dynaudio Core 47 and Core Sub
RME ADI-2 Pro FS R Black Edition 2-Channel High-End AD/DA Converter
OWC Thunderbolt 3 Dock/Envoy Pro EX Thunderbolt 3 SSD/ThunderBay 4
Readers’ Tracks
Inside the Box with Joe Albano: DAW Upgrading
Recording - November 2020 - Intro
Recording - November 2020 - Cover1
Recording - November 2020 - Cover2
Recording - November 2020 - 1
Recording - November 2020 - 2
Recording - November 2020 - 3
Recording - November 2020 - Fade In
Recording - November 2020 - 5
Recording - November 2020 - 6
Recording - November 2020 - 7
Recording - November 2020 - Fast Forward
Recording - November 2020 - 9
Recording - November 2020 - MicParts.com T-25 Microphone Kit
Recording - November 2020 - 11
Recording - November 2020 - 12
Recording - November 2020 - 13
Recording - November 2020 - Reviewed and Revisited: PreSonus Studio One 5 Professional
Recording - November 2020 - 15
Recording - November 2020 - 16
Recording - November 2020 - 17
Recording - November 2020 - RECORDING’s Show and Tell: Studio Upgrades
Recording - November 2020 - 19
Recording - November 2020 - 20
Recording - November 2020 - 21
Recording - November 2020 - Arturia AudioFuse Studio
Recording - November 2020 - 23
Recording - November 2020 - ADAM Audio T8V Active Studio Monitor
Recording - November 2020 - 25
Recording - November 2020 - (Just Like) Starting Over: Remixing John Lennon with Paul Hicks, Simon Hilton, and Sam Gannon
Recording - November 2020 - 27
Recording - November 2020 - 28
Recording - November 2020 - 29
Recording - November 2020 - 30
Recording - November 2020 - 31
Recording - November 2020 - 32
Recording - November 2020 - 33
Recording - November 2020 - IK Multimedia ARC System 3
Recording - November 2020 - 35
Recording - November 2020 - Once Over: Kali Audio MV-BT
Recording - November 2020 - Once Over: Hosa SuperSpeed USB3.1 (Gen 2)/SuperSpeed USB 3.0 cables
Recording - November 2020 - Inside the Studio with Mark Hornsby: Amplifier Profiling with Carl Verheyen
Recording - November 2020 - 39
Recording - November 2020 - 40
Recording - November 2020 - 41
Recording - November 2020 - TASCAM Model 12 Production Mixer
Recording - November 2020 - 43
Recording - November 2020 - Reviewed and Revisited: Steinberg SpectraLayers Pro 7
Recording - November 2020 - 45
Recording - November 2020 - Amphion Amp700
Recording - November 2020 - 47
Recording - November 2020 - Now Mod This! The joys and satisfaction of mic modding
Recording - November 2020 - 49
Recording - November 2020 - 50
Recording - November 2020 - 51
Recording - November 2020 - Audeze LCD-X Reference Headphones/Audeze Reveal+Headphone Plugin
Recording - November 2020 - 53
Recording - November 2020 - Glyph Atom Pro NVMe 1TB Thunderbolt 3 SSD/Blackbox Pro 2TB HDD/StudioRAID Thunderbolt 2 4TB HDD
Recording - November 2020 - 55
Recording - November 2020 - Dynaudio Core 47 and Core Sub
Recording - November 2020 - 57
Recording - November 2020 - RME ADI-2 Pro FS R Black Edition 2-Channel High-End AD/DA Converter
Recording - November 2020 - 59
Recording - November 2020 - OWC Thunderbolt 3 Dock/Envoy Pro EX Thunderbolt 3 SSD/ThunderBay 4
Recording - November 2020 - 61
Recording - November 2020 - Readers’ Tracks
Recording - November 2020 - 63
Recording - November 2020 - 64
Recording - November 2020 - 65
Recording - November 2020 - 66
Recording - November 2020 - 67
Recording - November 2020 - 68
Recording - November 2020 - 69
Recording - November 2020 - Inside the Box with Joe Albano: DAW Upgrading
Recording - November 2020 - 71
Recording - November 2020 - 72
Recording - November 2020 - Cover3
Recording - November 2020 - Cover4
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