Recording - March 2012 - 27

I thought about it until 9 PM, and realized that I couldn’t create a copy of that song (wouldn’t is more like it), even though that’s what they wanted, so I took a chance and made my own sound. The next morning at 8:45 AM (always be on time, or you’re dead!) I emailed the track to the supervisor. They loved it, but a few days later, the director changed the vibe of the scene that it was for. He now wanted a rock song. They didn’t pay me to come up with the track, it was a spec arrangement, which most of those quick creations are when someone unknown is involved. You get paid if it gets used, but you swallow the cost of recording. Unfortunately, this is something that happens very often. You see, productions such as these have music supervisors, producers, directors, editors, etc., etc., and you have to pass through a screening process which allows for any one of those people to change their mind on something. Never mind the politics of this producer who loves this band because his sister’s cousin is married to the drummer, and, well, it would be so cool if they got the song because then he could get the guitarist to come to his girlfriend’s birthday party. You have to go into a spec deal with the following mindset: “Chances are slim, I’ll do

are many artists that are eager to give it away for free by just generating on the back-end. This has also affected fees paid to artists and the value of intellectual property in general. Fee ranges vary greatly. For a worldwide ad campaign for example, an artist, stature aside, could potentially receive $500K for one year. I’ve worked on ad campaigns for Canada alone where the licensing fee was $30K. Film fees vary depending on whether they are major or indie, where the song is placed in the film, and the commercial value of the song. Depending on all of that, fees could range anywhere from $0 (super-low budget indie) to $80K— $100K (high-budget major film with prominent placement). TV placements rely on network strength, length, and stature of artist, and can range again from $0 (instrumental tracks for most reality shows) to possibly as high as $20K and beyond. If you have several hundred tracks licensed to a network or show for constant use, this can add up to a nice return. Some placements can get really complicated. For example, for film, you have to be aware that some of the deal points for generating income could include the following: Fee for master and synch clearance (master: owner of the sound recording; synch:

that they haven’t had anything placed. Well, sure, you’re competing with thousands of tracks, so the more tracks you provide a publisher, network, supervisor, the greater your chances. I’ve done blanket licenses with networks for over 100 tracks at a time. With this comes multiple airings, not just because of quantity, but also because of diversity and the fact that I’ve built the relationship. Find a niche. Look at shows they have placed, create tracks in that vein, do a little rain dance, and hope something happens. Do not sign with anyone for more than 50%, unless you get mondo dollars from it. Even then, do not. It’s highway robbery, and there are people that do it who can get results. I say no because it’s just plain immoral, especially because they lower the value of music as it is. I have a problem with a company such as this right now. They raised their percentages a few years ago, have terrible accounting, and I even caught them licensing my music to major corporations without any paperwork whatsoever. They are in big trouble. In conclusion Your songs can generate an income that becomes your livelihood. It’s never too late to start looking into and pursuing licensing. L. Frank

Music supervisors want finished masters. Unless they ask for demos, never give them one. It will just annoy them. Sometimes supervisors in advertising might ask for a demo, or even pay for one to be done... but generally speaking, your masters have to be ready to go.
the best I can, and if they reject it, there are other places for the track, so not all is lost.” This track of mine ended up in a Macy’s spot, and dozens of other shows, so I’m glad I spent all night recording it. The fee for that placement was probably in the tens of thousands. Which brings me to... Money? What money? Fee ranges vary according to format, territory, artist stature, and so on. The Rolling Stones, for example, will get a much higher fee than the band down the street, because of their stature, commercial value and negotiating power. Music supervisors are always on a budget, but they don’t try to low-ball artists. Fees are negotiable to a certain extent depending on the project, but I’ve always had a good experience with quotes from supervisors and proper value. There owner of the publishing rights); Soundtrack sales; Foreign theatrical performance (a portion of ticket sales goes back to music); Network airings; and Cable airings. Basically be ready for everything. Online publishers While you continue networking and building relationships with supervisors, you also have the option to sign up with some non-exclusive publishers online, such as Jingle Punks, Music Dealers and so on. These have their pros and cons. The pros are that it’s non-exclusive, as well as another outlet for exposure. The cons are that it’s a 50/50 deal. You know what they say, though: 50% of something is better than 100% of nothing. Some artists put, say, four tracks up there, then six months to a year later, or maybe even longer, they complain Baum was in his early ‘40s when he became successful with The Wonderful Wizard of Oz, after having gone through more than half a dozen professions. And don’t take “No” for an answer. Decca Records rejected The Beatles in 1961, claiming that “guitar bands were on their way out.” “No” means that those saying it aren’t right for you. Move on to the next door, and keep knocking! Eric Alexandrakis (alexandrakis @recordingmag.com) is a highly successful songwriter, producer, and recording musician. He was a pioneer in digital copyright protection, producing the first-ever digitally watermarked CD while in graduate school, and has had several top-40 hits on the Adult Contemporary charts. Learn more at www.erikalexandrakis.com.
RECORDING MARCH 2012

http://www.ericalexandrakis.com

Recording - March 2012

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