Recording - December 2013 - 51
DECEMBER 2013
The Great Debate at the 2012 TAXI Road Rally
Exclusive VS Non-Exclusive Music Libraries, Part One
PANELISTS:
Tanvi Patel - CEO/Partner, Crucial Music
Corporation, taking the non-exclusive side
of the debate.
Adam Weitz - V.P. of Film/TV Music at TAXI (at
the time of the debate), playing the role of
someone who would be on the exclusive
side of the debate.
Moderator: Michael Laskow - CEO of TAXI,
acting as a neutral party to facilitate the
debate.
Tanvi Patel is the President/CEO and 50% partner of
Crucial Music Corporation. She joined Jim Long's
record label Honest Entertainment/the Gold Label
and then moved into the library business, managing production and secured placements for I film
and TV for Long's production library. Her film and TV
and advertisement placements include, and trust
me, this is a tiny, tiny little drop - I just grabbed a
few that stuck out, Oscar-winner Brokeback Mountain; Ocean's Twelve; 21 Jump Street; A Very Harold &
Kumar Christmas (I love that movie!); Abraham Lincoln: Vampire Hunter (I just didn't understand that
one); American Reunion; Crazy, Stupid, Love.; Green
Hornet; Letters to Juliet; Sex and the City; The Blind
Side; Transformers; Dark Side of the Moon; Zack and
Miri Make a Porno; and literally hundreds of others.
I'm not even listing the TV shows because I'd take
the entire panel to list the TV shows. Commercials
include American Express, Burger King, DKNY Pure
fragrance, Ralph Lauren, Toyota, and many, many
more. Tanvi has also run a ton of listings with TAXI,
signed hundreds of our members, built a huge percentage of her catalog with music that she's found
through TAXI, and has made considerable sums of
money for dozens, possibly a few hundred of TAXI
members over the years. Ladies and gentleman, I
give you Ms. Tanvi Patel. [applause]
Tanvi: Thank you, Michael.
We've never done the calculation on how much
Adam Weitz (right) looks like he's cracking a whip to make a point during the debate with Tanvi Patel (center) and Michael Laskow
(left) listening intently.
money has gone to TAXI members since we've
known each other, but it's got to be in the hundreds
of thousands.
Tanvi: Yeah, it's got to be.
Silly money. Anyway, we love her.
And, Mr. Adam Weitz. I want you to know a little bit
about his background. He's a composer. He's scored
two network TV shows, he spent the last five years
licensing tons of music into film and TV projects and
commercials, trailers, and TV promos. He joined TAXI
as our VP of Film and TV in 2012 and he's been doing
an amazing job for our members. Mr. Adam Weitz.
[applause]
All right. So, here's the deal. The debate over whether
musicians should sign exclusive or non-exclusive deals
is probably the biggest hot-button issue that's out
there right now. And my personal belief is that there
is no one-size-fits-all answer. On one side of the
debate, are folks who say that non-exclusive deals are
devaluing music. There are music supervisors at networks that will not use music that's signed to a
non-exclusive deal. I've also met supervisors who say
that they won't use non-exclusive music publicly, yet
privately they will admit that they do use music that's
non-exclusive if it's perfect for the scene. They just
have to work harder to make sure that it's legally
kosher and will clear. Tanvi's company is non-exclusive
but with a twist, and I'll have her explain that in a
minute. We've asked some folks to come and speak
from the exclusive side of the argument, but in the
end, the people that we asked could not come. The
point of this panel is not to declare exclusive or nonexclusive a winner. We just want you to understand
all the aspects. Again, our goal is to look at both sides
so you can decide if one or the other, or both types of
deals are good for you. Tanvi and Adam are both calm
and reasonable people, most of the time [laughs]
who understand the mission and I should note that
the views that Adam is going to express on this panel
are not necessarily his own views. He's playing a role.
So, he's going to play the role of the "exclusive guy,"
because he knows his stuff. Again, these may or may
not be his personal views. He's only playing a role.
Remember that; write it down. If anybody is videotaping that, we've got it on record.
Let's get started. [Asking audience.] How many people have your music in a library or catalog? Period.
Of any kind. All right. So, I would say probably 80%
of the room raised their hands on that.
Tanvi, can you give us a definition of a non-exclusive
library?
Tanvi: Well, there are many forms of non-exclusive licenses. With ours, you get to keep your
copyrights. You also get to work [pitch] your own
material. You get to take your tracks to another
catalog that is also a non-exclusive.
When you say,"Work your own material,"If the guy in
Continued on page 52
51
Recording - December 2013
Table of Contents for the Digital Edition of Recording - December 2013
Contents
Recording - December 2013 - Cover1
Recording - December 2013 - Cover2
Recording - December 2013 - 1
Recording - December 2013 - 2
Recording - December 2013 - 3
Recording - December 2013 - 4
Recording - December 2013 - 5
Recording - December 2013 - Contents
Recording - December 2013 - 7
Recording - December 2013 - 8
Recording - December 2013 - 9
Recording - December 2013 - 10
Recording - December 2013 - 11
Recording - December 2013 - 12
Recording - December 2013 - 13
Recording - December 2013 - 14
Recording - December 2013 - 15
Recording - December 2013 - 16
Recording - December 2013 - 17
Recording - December 2013 - 18
Recording - December 2013 - 19
Recording - December 2013 - 20
Recording - December 2013 - 21
Recording - December 2013 - 22
Recording - December 2013 - 23
Recording - December 2013 - 24
Recording - December 2013 - 25
Recording - December 2013 - 26
Recording - December 2013 - 27
Recording - December 2013 - 28
Recording - December 2013 - 29
Recording - December 2013 - 30
Recording - December 2013 - 31
Recording - December 2013 - 32
Recording - December 2013 - 33
Recording - December 2013 - 34
Recording - December 2013 - 35
Recording - December 2013 - 36
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Recording - December 2013 - Cover3
Recording - December 2013 - Cover4
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