Music royalties

Music royalties and copyright are the music industry’s currency. Although the concept of copyright and music royalties might appear straightforward, in fact the development and adjustments of music copyright, and licensing systems has changed significantly over the years. And although much of the traditional legal framework is still in place the music industry has and is undergoing significant changes.

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Promoter contracts

Promoter contracts govern the relationship between the promoter and the booking agent, venue, contractor, venue, artist or other promoters. A promoter acts as intermediary between a booking agent, venue, contractor, and the artist/other promoters. By artists I mean performance artists including: singers, DJ’s, dancers, actors, models, poets, conductors, choreographers, magicians and broadcast journalists.

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Music Production

The first thing to clarify is that there is a difference between the sound recording, which is the mastered track, and the musical composition. The mastered track incorporates the musical composition. However the properties that make up the finished mastered track are treated separately for copyright purposes i.e. the songwriter and the singer each have their own rights. The singer owns the copyright in the sound recording, and the songwriter owns the copyright in the musical composition. Some artists are the authors of both the musical composition and the sound recording, and so are entitled to the rights that are attached to both properties. Every time a mastered track is copied both rights holders are entitled to royalties. The licence for copying of the mastered sound recording is called a mechanical licence.

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Concert Promoters

Top night clubs like Niki Beach Miami, Provocateur New York City, have a reputation as the playground for jet setters, celebrities, and VIPs. They regularly book well-known DJs to play guest DJ sets or a celebrity to make an appearance. Concert promoters also contract with artist(s) to organise a live concert special event performance or a tour. Historically the best known concert promoter in the business was probably Harvey Weinstein who diverted into film production. The best known contemporary concert promoter is probably AEG Live.

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Sponsorship

Sponsorship Agreements

Sponsorship Agreements – basic guide to sponsorship agreements

Sponsorship is an associative marketing tool. It is defined by the International Chamber of Commerce as:

“Any commercial agreement by which a sponsor, for the mutual benefit of the sponsor and sponsored party, contractually provides financing or other support in order to establish an association between the sponsor’s image, brands or products and a sponsorship property in return for rights to promote this association and/or for the granting of certain agreed direct or indirect benefits.”

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Music Management

Traditionally, artists’ managers had a more intimate relationship with artists, taking care of the business side of things, whilst the artists concentrated on making music. The manager would usually take a back seat, preferring to be behind the scenes dealing with the day-to-day running of artists’ business affairs.

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Globalisation and state music policy

According to Arthur Conan Doyle, “there is nothing more deceptive than an obvious fact”. Most of what we say about globalisation is that it obviously brings the world’s national cultures even closer together. Well that fact is not so necessarily obvious. In-fact it is argued in this article that not all territories necessarily welcome and some, if not most, actively try to resist globalisation blurring their national cultural boundaries. Some governments work diligently to control or restrict the effects of globalisation in various ways including regulation.

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Copyright Recorded Music

This report discusses the future of copyright recorded music law in relation to the recorded music industry. The way we access, produce, distribute, store and consume recorded music has changed dramatically with the introduction of the internet. This change has meant that the current copyright laws have to be brought in line with the consumer`s change in perception of choice and access to recorded music. Adapting copyright law to meet the perception of choice and access to recorded music is proving controversial.

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Online Piracy

Copyright is very basically the right to stop somebody else copying another person`s creative work. It is an exclusive right which belongs only to the owner of the creative work. The term `piracy`, as it applies to copyright infringement, is a colloquialism that was used historically to describe copyright infringement. The person stealing the creative work belonging to another was termed a `pirate`. Therefore the stealing on the internet of copyright work that belongs to another is colloquially known as `Online Piracy`. Copyright infringement is the same thing as `Online Piracy`; it’s just the formal way to describe the theft of another person`s creative work.

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