Recording - March 2016 - 54

Continued from page 53
room sitting in this room sitting behind me?
They're the doers. You can be a dreamer; you can
start with a dream; but you've got to be a doer.
And you've got to persevere and you've got to
have a plan. You know me, I've been preaching
that stuff for 23 years now. The reason I just
worked since Labor Day, 80 hours a week without
a single day off and killed myself, is because of
the people sitting behind me today. They got on
planes from China, Brazil, New Zealand, all over
the world, to come to this event. These are the
1% of the 1%. [applause] And they will learn
stuff like you guys are giving them, and they will
go home and use that stuff. And it makes me
incredibly proud!
John, Can you please tell our audience what
micro-syncs are?
Ok. First of all, a micro-sync-the way I think
about it-is essentially a synchronization use
in almost a nonlinear format-type. In film, TV,
and advertising, that's a traditional kind of
sync. In a micro-sync, basically what you're
doing is ... I'll give you like the hardest-core
example: You do a deal with somebody like a
Rumblefish, who is aggregating this microsync market, and then you use Animoto or
anything like that, which lets you add music
to a video from your phone or whatever device
you choose, then you push a button and it
publishes up. It might go up to your Facebook

"If people are writing right now for
music libraries and each television
network, each production company,
are building their own music
libraries, well, that's still an
opportunity."
-Brian McNelis
page; it might go up to YouTube; it might go
to all those different places. Well, in that
transaction, when you put that music in there,
there is actually a license that is a blanket
license-just like in the old days you would
have with a TV show, potentially-where your
track goes in, that license is kicking in, and
then when it goes up, it's like being published.
So you're getting paid, and it might be just
pennies initially. But you're getting paid when
that transaction happens on the sync in
grandma's video at the soccer game. And then
when it gets published up, if for some reason
something crazy happens in that video and it
turns into some viral video, you're going to
get paid as well as a songwriter at that time,
right?

54

So it's kind of a new way to think. In a microsync, what you want is distribution across
every single app that's going to essentially create a synchronization use on the
user-generated content level. There's also kind
of the hybrid between tradition synchronization and this kind of micro-sync use. And
again, that could be in apps, videogames,
user-generated content, all kinds of things. So
that might be for a corporate video, or it
might be for a wedding video. It could even be
a bigger use. As an example, it could be for a
Smirnoff commercial and they are doing an
online video or whatever it is...
So it ranges from grandma and the soccer game
up to a national TV campaign.
That's right. But you've got to have that technology layer that's going in to push it out.
We've had episodes of TAXI TV with members'
music in them that get blocked on YouTube
because the member singed up for micro-syncs
after the music was used on the show. Are there
any pitfalls musicians should watch out for when
they sign up with Rumblefish or any of the other
purveyors, and they check a box allowing microsyncs?
Two really things you have to do. One is you
have to make sure the setting is correct. This
is real practical knowledge. You need to make
sure that the setting, whether you're doing it
yourself, which has become more and more
prevalent as YouTube and others opened up.
The bad side of that is, how are you going to
manage a hundred platforms? So you have to
make the decision whether it's worth paying
somebody a percentage to do that for you. The
second piece-particularly on YouTube-is
that it is really important to make sure that
your song is registered with whatever society
(PRO) you choose. Because there is a mechanism essentially that you are not going to get
paid any performance monies if that isn't registered correctly. It may be registered on the
YouTube CMS system that says, "Here's the
split," and you're like, "Yeah, that's the split."
But if that hasn't been verified against a PRO,
then it's not going to click in, and they have
nobody to pay. They don't know how to make
that connection; all they know is you are the
one that wrote it.
So you could have 100 million views and not get
a penny, because they don't know where to send
the penny.
Super-important that the second that it's up
that you get it, because you don't get retro. So
if there are 100 million views, and if you take
care of your business at 99 million views, you
just lost the other 99 million.
Great answer. OK, so this is for all three of you,
and I want to have Brian lead off on this. Many
of the TV networks and TV production companies

are building their own in-house catalogs. Again,
not to pat myself on the back, but years ago I
remember having a discussion with one of the
more advanced TAXI members saying, "TAXI is
really perfectly positioned to go build private inhouse catalogs for networks." And he was
reluctant, because he said, "I don't want my
stuff stuck in one place." That was his argument;
he's a smart guy and I respect him. But it's happened; it is happening faster. As we are sitting
here, somebody is probably putting pen to paper
and doing one of those deals. That means in
many cases that the network or the production
company wants 100% of the publishing, because
they want more money and they want to build
an asset. They are not stupid about this stuff
anymore. They will turn around and say to an
existing library, "Hey, we want 100% of the publishing. You've still got the writer's share, you go
talk to your writers and work out a deal with
them." And we all know that the writer's share is
sacrosanct; nobody should be touching that. And
that's a very slippery slope and a dangerous
future for the people behind me in this room.
So eventually there could be so little income left
for songwriters and composers, they'd have no
impetus to make music anymore. This practice
could kill off a large chunk of the library business. How quickly is this happening, how much
do we have to fear, how bad do you guys think it
is? Brian, would you please lead off?
Brian: Well, I think the good news in that is
that there is always this conversation where
we talk about evolving technology and changing markets, like the buggy whips and the car,
right? In the example of music, it's kind of a
fallacy, because for that analogy to be true
with music, buggy whips would still be used,
but people wouldn't be paying for them. You
know, there's a difference between transitioning from one technology to another, so the
golden age of Hollywood ended, and it gave
rise to similar jobs in television. I think in this
particular case it's kind of like that transition.
Like if we are moving the same skillset to a
different area, then it's just kind of a migration in the evolution of an industry, right? So
if people are writing right now for music

"The opportunity to just get a little
bit into the game is what is so exciting now, and that wasn't there
before."
-John Rudolph
libraries and each television network, each
production company, are building their own
music libraries, well, that's still an opportunity. Instead of going to the music library,
you're going directly to the person running
the in-house music library at the film studio
Continued on page 57



Table of Contents for the Digital Edition of Recording - March 2016

Contents
Recording - March 2016 - Cover1
Recording - March 2016 - Cover2
Recording - March 2016 - 1
Recording - March 2016 - 2
Recording - March 2016 - 3
Recording - March 2016 - 4
Recording - March 2016 - 5
Recording - March 2016 - Contents
Recording - March 2016 - 7
Recording - March 2016 - 8
Recording - March 2016 - 9
Recording - March 2016 - 10
Recording - March 2016 - 11
Recording - March 2016 - 12
Recording - March 2016 - 13
Recording - March 2016 - 14
Recording - March 2016 - 15
Recording - March 2016 - 16
Recording - March 2016 - 17
Recording - March 2016 - 18
Recording - March 2016 - 19
Recording - March 2016 - 20
Recording - March 2016 - 21
Recording - March 2016 - 22
Recording - March 2016 - 23
Recording - March 2016 - 24
Recording - March 2016 - 25
Recording - March 2016 - 26
Recording - March 2016 - 27
Recording - March 2016 - 28
Recording - March 2016 - 29
Recording - March 2016 - 30
Recording - March 2016 - 31
Recording - March 2016 - 32
Recording - March 2016 - 33
Recording - March 2016 - 34
Recording - March 2016 - 35
Recording - March 2016 - 36
Recording - March 2016 - 37
Recording - March 2016 - 38
Recording - March 2016 - 39
Recording - March 2016 - 40
Recording - March 2016 - 41
Recording - March 2016 - 42
Recording - March 2016 - 43
Recording - March 2016 - 44
Recording - March 2016 - 45
Recording - March 2016 - 46
Recording - March 2016 - 47
Recording - March 2016 - 48
Recording - March 2016 - 49
Recording - March 2016 - 50
Recording - March 2016 - 51
Recording - March 2016 - 52
Recording - March 2016 - 53
Recording - March 2016 - 54
Recording - March 2016 - 55
Recording - March 2016 - 56
Recording - March 2016 - 57
Recording - March 2016 - 58
Recording - March 2016 - 59
Recording - March 2016 - 60
Recording - March 2016 - 61
Recording - March 2016 - 62
Recording - March 2016 - 63
Recording - March 2016 - 64
Recording - March 2016 - 65
Recording - March 2016 - 66
Recording - March 2016 - 67
Recording - March 2016 - 68
Recording - March 2016 - 69
Recording - March 2016 - 70
Recording - March 2016 - 71
Recording - March 2016 - 72
Recording - March 2016 - Cover3
Recording - March 2016 - Cover4
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