Recording - December 2010 - 49

Is your music suitable? Before you consider licensing, it is first important to understand exactly what fits commercially. This is where it can get tricky. You’ll hear a mixed bag of music in commercial spots, and whether (custom-)scored or licensed, rock or classical, certain trends stand out. “Ads almost always have positive themes, uplifting ideas and tell stories about safety and security,” notes Erik Steinert, CEO of Stray Dog Haus. Having a variety of tunes spanning various genres certainly helps, but it is even better to understand what works musically, taking into account voiceover and sound effects. The music is generally only a portion of the sound occurring in the spot, and having a track that develops sonically, along with moments of space and poignant lyrics, will appeal to an ad producer. Also, be aware of the message the song is sending. Whether you are telling a story about losing your girl to your sister, or painting some abstract metaphor relating last night’s Chinese takeout to your social life, what you say and how you say it can be just as significant as a catchy riff. “An agency will listen to the whole song so if the first verse is all positive but in the bridge you talk about getting laid in the back seat... that song will not be touched.” comments Steinert. How does it happen? When a track is picked for a commercial, the ad agency buys usage rights from whoever controls them, whether it is the label, publisher, or artist. These rights can range from hundreds to hundreds of thousands of dollars for today’s budding groups or songwriters, based on the type of usage and the status of the artist. Depending on the contract agreed to by the artist and its licensers, this can mean some serious dough direct to the artist. There are two common types of copyrights associated with licensing: one for the song itself, and the other for the masters associated with the recording of the song. The former is generally ownership by the publisher or the songwriters, while the latter is most often the band (in the indie world). Notes Steinert: “When we find a band we like, whose music we believe would be a good fit for the catalog, we first gather all the info on who owns both sets of copyrights.” It’s good to note that the fewer people there are to call, the better... another reason why licensing caters well to lesser-known artists. Any legal logistics are minimized when ownership rights are consolidated. Non-exclusive Non-exclusive catalog representation contracts allow for a licenser to add your song or album to their in-house catalog. When an anxiety-prone producer calls at the last minute looking for tracks to appease
RECORDING DECEMBER 2010

49



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Recording - December 2010

Table of Contents for the Digital Edition of Recording - December 2010

Recording - December 2010
Fade In
Contents
Talkback
Recording’s 2010 Holiday Gift Guide
Theme Music for TV—A Production Report
Royer Labs R-101 Ribbon Microphone
Recording SFX—A Career Option?
Primacoustic IsoTools
Avenson Audio IsoDI
Getting Your Music Heard In Today’sCommercial Culture
Preview: Yamaha AvantGrand
It’s Your Music—Know Your Rights.Chapter 9: Trademark Basics
Sonoma Wire Works GuitarJack Model 1and FourTrack 4.0.1
Readers' Tapes
Advertiser Index
Fade Out
Recording - December 2010 - Recording - December 2010
Recording - December 2010 - Cover2
Recording - December 2010 - 1
Recording - December 2010 - Fade In
Recording - December 2010 - 3
Recording - December 2010 - Contents
Recording - December 2010 - 5
Recording - December 2010 - Talkback
Recording - December 2010 - 7
Recording - December 2010 - Recording’s 2010 Holiday Gift Guide
Recording - December 2010 - 9
Recording - December 2010 - 10
Recording - December 2010 - 11
Recording - December 2010 - 12
Recording - December 2010 - 13
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Recording - December 2010 - 28
Recording - December 2010 - 29
Recording - December 2010 - 30
Recording - December 2010 - 31
Recording - December 2010 - 32
Recording - December 2010 - 33
Recording - December 2010 - Theme Music for TV—A Production Report
Recording - December 2010 - 35
Recording - December 2010 - 36
Recording - December 2010 - 37
Recording - December 2010 - 38
Recording - December 2010 - 39
Recording - December 2010 - Royer Labs R-101 Ribbon Microphone
Recording - December 2010 - 41
Recording - December 2010 - Recording SFX—A Career Option?
Recording - December 2010 - 43
Recording - December 2010 - Primacoustic IsoTools
Recording - December 2010 - 45
Recording - December 2010 - Avenson Audio IsoDI
Recording - December 2010 - 47
Recording - December 2010 - Getting Your Music Heard In Today’sCommercial Culture
Recording - December 2010 - 49
Recording - December 2010 - 50
Recording - December 2010 - 51
Recording - December 2010 - 52
Recording - December 2010 - 53
Recording - December 2010 - 54
Recording - December 2010 - 55
Recording - December 2010 - Preview: Yamaha AvantGrand
Recording - December 2010 - 57
Recording - December 2010 - It’s Your Music—Know Your Rights.Chapter 9: Trademark Basics
Recording - December 2010 - 59
Recording - December 2010 - 60
Recording - December 2010 - 61
Recording - December 2010 - Sonoma Wire Works GuitarJack Model 1and FourTrack 4.0.1
Recording - December 2010 - 63
Recording - December 2010 - Readers' Tapes
Recording - December 2010 - Advertiser Index
Recording - December 2010 - 66
Recording - December 2010 - 67
Recording - December 2010 - 68
Recording - December 2010 - 69
Recording - December 2010 - 70
Recording - December 2010 - 71
Recording - December 2010 - Fade Out
Recording - December 2010 - Cover3
Recording - December 2010 - Cover4
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