The most surefire way to get the attention of video game companies and music supervisors is by going through a sync agency that can pitch your music for you. Groover has sync partners around the world who you can contact directly and are ready to hear your music. Let them know you want your music in a video game, and work together to make it happen! Here are a few of the sync companies Groover is partnered with.

The Basics: Licensing

In order for anyone other than a song’s owner to use the music, it must be licensed to them. This is essentially the legal permission necessary to use a song in a TV show, commercial, movie, video game, trailer, or anything associated with a product.

Payment to the song’s owner can either be in royalties (a percentage of total earnings over time) or as a lump sum. The legal side of negotiating contracts and fees can be messy, so it’s worth having a third party such as a publisher, sync agency, or label to do most of the legwork. You will, of course, have to pay them for their service or give them a cut of the check.

Submitting Through Distributors

Some online distributors also act as music licensing and publishing companies. If you’re an independent artist, you’ve surely released music using a digital distributor, so check their services to see if they offer sync opportunities, such as Collabhouse.

If they do, they will either ask for a one-time fee to open your account for submissions and take a cut of the royalties, or the cost will be bundled into a regular subscription. Either way, it can be handy to have everything in one place.

Reach Out to Video Game Developers

Before reaching out, you must determine which games your music would actually fit well with. Avoid submitting music that doesn’t match the look and feel of the game so you don’t waste any energy on a pitch that may be discarded.

When you’ve found a company or developer you think will be interested in your work, find their contact information on their website, LinkedIn, or social media. Email is the preferred and professional means of communication – do not send an Instagram DM.

In your message, briefly introduce yourself, but focus on the music. The message should only be a few sentences, so make them count by being descriptive about your track and why you think it would be a valuable addition to the game. It will be clear in the way you write whether or not you are a user, and knowing the game as a consumer yourself is certainly of help.

To make things easier for everyone, include a streaming link, private link to SoundCloud, Untitled, or YouTube, and make it downloadable. If your recipient likes what they hear, they’ll be able to share it with ease.

Developers Finding You

If you’re part of a sync agency or publishing company with a good network, music supervisors and developers may come to you. This is part of the advantage of having a team behind your sync placements. You can browse Groover’s list of global sync companies available to contact through their platform.

Another means of attracting offers is by submitting your songs to online music libraries that production companies sift through for potential syncs. Depending on the library, this could mean giving up your rights to the song, however. 

Of course we all know the power of social media – posting your music on social networks and tagging a game company may result in interest on their part as well.

Example: FIFA

FIFA (called EA Sports FC since 2023) is one of the most popular video games there is and ever was, and has gained a reputation for having a great soundtrack every year. During the game lobby and training exercises, an eclectic playlist of songs (very often emerging artists) is played and sets the tone and energy of the game.

Some songs that were popularized shortly after being on the FIFA soundtrack include “Heat Waves” by Glass Animals, “Love Me Again” by John Newman, and “Phone Numbers” by Dominic Fike.

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L’article How to Submit Music to Video Games est apparu en premier sur Groover Blog.

1. What is a creative director in music?

It’s 2025, and the pop girlies are dominating the charts. Billie Eilish, Olivia Rodrigo, Taylor Swift, Sabrina Carpenter, and Chappell Roan are all wildly successful in the genre of pop, yet they’re all pretty different when it comes to how they present themselves. They have essentially amplified their personalities to create their own space in the genre, and some cater to different audiences than others. This is in part thanks to the creative directors they work with.

Creative directors often work with/at labels as a sort of in-house artistic consultant. In music, their role is to find an artist’s brand identity and help them convey that message to the public. This means honing in on an artist’s personal style, tastes, visual persona, and overall public image. This covers everything from the clothes they wear and how they do their hair to what they’re posting on social media and what their music videos look like.

In short, creative directors help:

• Identify an artist’s brand
• Help guide them in their public image
• Maintain this image on social media and online
• Understand their artistic vision and find the right collaborators for the artist

2. Creative directors vs A&Rs and PR

While there is sometimes overlap in responsibility, creative directors and A&Rs are for the most part very different.

A&Rs work to scout artists, writers, and producers for their label to sign. Creative directors work with signed artists to develop their visuals and voice. One covers the “before”, and another covers the “after”. A&Rs take a step back after the artist has been signed and begins career development in the label, which is when creative directors take the reigns.The overlap can happen when the label discusses what their vision for an artist is long-term. Many people within a label come together to figure this out, and both creative directors and A&Rs can present a vision they have for someone.

This is worth mentioning because some labels work differently and have smaller teams, therefore allowing for more overlap in who does what. Smaller labels will see A&Rs covering both roles, while others separate the administrative and creative departments.

PR is “public relations” and covers what is said publicly to protect an artist’s image. They have no say in anything creative, simply public statements or what not to say in an interview.

3. What kind of advice do creative directors give?

Creative directors can have a say in anything creative that is seen or heard by the public. This could mean suggesting that an artist releases a certain single because that style is a fan favorite, attends a certain event because it showcases the artist’s values, posts certain pictures on Instagram, participates in certain trends, or wears a style of clothing on tour/during shows.

They are the filter artists can use to better understand how other people see them and how to stay consistent (or change, if they want to!)

4. How artists and creative directors collaborate

There is a balance to strike between the artist’s vision and the creative director’s expertise, and that can usually be achieved through simple communication and selectivity. The creative director will do everything in their power to take an artist’s personal needs and vision and mold them into something convincing and presentable. If you are an artist and are working with a creative director that does not align with how you see yourself moving forward, you’re working with the wrong person!

Before making a choice on who to work with, you must spend time with the people you’ll be collaborating with. This requires meetings and discussions that will allow you to get to know the creative director personally, allowing you to decide whether or not your ideas are compatible, if they truly understand you and your artistic vision, if they have the rights connections to help you reach your goal. Ask tons of questions and know what you want before going in.

| Check out: Recording Contracts: What to expect and what to avoid

5. How long do creative directors stay involved?

Creative directors will work with artists for as long as their contract with the label is. The longer the better, so that the artist’s image can be crafted and refined over time.

Nowadays, where the music industry is in constant change, it’s important to stay current, so creative directors are working around the clock to maintain a rhythm of content and releases. It is not a seasonal job, so they’ll be involved for as long as necessary, even if an artist hasn’t released anything in a while.

6. Who creatively directs independent artists?

Independent artists have the privilege of not being tied down to one person’s vision, so it’s worth taking advantage of.

If someone around them is creatively inclined and understands today’s social media landscape and public relations, they might be equipped to advise the artist when necessary. You do not need tons of resources to be a creative director, though connections in the creative industry (photographers, stylists, makeup artists, videographers, editors, etc) definitely helps.

Indie artists can also gather friends who listen to the type of music they make (ideally from different backgrounds) and workshop what they think would make sense for them in terms of album visuals, clothing style, and general persona. Sometimes hearing multiple opinions helps one find their own!

| Check out: How to get signed by label when you are an independent artist

– Written by Emma Ballay in its original version and translated by Natalia Soborksi  – 

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L’article What a Creative Director’s Role is in Music est apparu en premier sur Groover Blog.

Don’t hesitate to ask for advice from music industry professionals on Groover to get honest and constructive feedback on the progress of your projects and career moves.

Step 1. The Music Creation Phase

Writing and Producing Songs

Before strategizing and coming up with a master plan for reaching success in the industry, you must first have the material you’ll be working with. The most important step in the entire endeavor that is a career in music is making the music itself.

Not all artists are songwriters, but consider how much more control you’ll have if you are. You’ll own larger shares of royalties of your music, have more creative freedom in the studio, and be able to use your own experiences to shape your sound and the emotion it evokes for listeners.

Songwriting is a skill that comes from a lot of listening, learning, analyzing, and reading. How do your favorite artists tell a story through song? Active listening is something you can do at any time that will greatly benefit you when you start working on new music. Apply this to instrumentals, melodies, and lyrics: look for how instruments are layered in the beat, a story arc within the lyrics, and repetition or lack thereof in the melody.

Do not hold yourself back when you’re creating. Give every idea a chance, and document anything that comes to mind when you’re away from your workspace. The Notes and Voice Memos apps are your best friends.

Using the Best Tools Available

Whether it’s a plugin, app, or sample, it’s important to use high quality tools to both learn and create.

Plugins

As you go about your production process, the additional tools you need will become clear to you. Plugins for musicians exist by the thousands and are designed to make music creation easier and more accessible, regardless of your studio setup and available equipment.

When it comes to plugins, choose quality over quantity always. It is better to spend your money wisely on the few plugins you need rather than a number of different ones that serve the same purpose because of one or two small differences in features.

Invest in good compression, EQ, piano, guitar, autotune, saturations, and limiter plugins.

Apps

No matter your level of musical proficiency, there exist apps that can streamline your music making process or note-taking efficiency. Optimize your process by figuring out what you need the most. Some ideas are:

• General music production
• Identifying chords
• Identifying a key
• Tuning an instrument
• Vocal exercises
• Learning an instrument
• Music file storage/sharing
• DJing

If an app can help you overcome an obstacle of yours, it is worth the download. Just ask Steve Lacy, who produced parts of his Grammy-winning album on his iPhone.

Sampling

Samples are an element of production that are easy to source but tricky to master. Nothing special is required to find samples – they are simply an excerpt of any pre-existing music you like.

The two ways to sample music nowadays are by 1) finding them yourself, or 2) using a sampling service online. Finding them yourself requires meticulous listening, and often a large collection of music. For the very ambitious, a vinyl collection + a turntable that allows you to convert the physical music to digital music is a great way to go about it. If you’re a quick worker and prefer to have a vast library of sounds and songs to use, online music platforms that focus on sampling, like Splice, are a perfect investment.

2. Making your Music Professional: Recording, Mixing, and Mastering

How to Find the Right Recording Studio

The quality of the recording and production of your songs is immensely important. Choosing the right music studio will give you access to high quality equipment you may not have at home and engineers that will save you time in the recording process.

There are a lot of music studios out there, but the best way to filter them and find the right fit is by taking both budget and location into account. Some studios are open to public bookings and can be rented out for however many hours on whatever days available, while others require you to reach out well in advance and discuss prices. These studios do this to vet their guests. A healthy in-between is studios who work on a subscription basis and charge per month for access to their facilities. Do a quick search for studios around you and figure out what makes the most sense for your situation.

With the right equipment, you don’t even need a professional studio. Countless successful artists record at home – you can also create an incredible studio in your own home if necessary. Here’s a breakdown of how to build a quality home studio.

Mixing

Mixing is a key step in the music production process that cannot be skipped.It is the point in the process where all elements of your track are made balanced and clear in relation to each other. Effects are added to vocals, unnecessary frequencies are cut from instruments, and the song is ready to be passed on to the mastering phrase, which is vital if you’re planning to release it to the public.

Check out our mixing tips and tricks to make your music sound good

Mastering

Mastering is the misunderstood step in music-making that actually makes the biggest difference. It is what makes a song file ready to distribute to the public through the adjustment of levels, compression, and more to make it compatible with playback devices.

Without mastering, a song would sound completely different on a phone than it would in a car or through speakers. The rumble you feel when a bass hits hard or the intimacy that comes through when a vocalist is singing softly but loudly at the same time is made possible through mastering and the processing that happens during this step. Make absolutely sure to do this before getting your music on Spotify or any other streaming service.

3. Create a Universe Around You and Your Music

Storytelling and Branding

Turning your listeners into fans requires strong storytelling that will allow them to identify you and your personality. Creating the impression for your audience that they know and have a personal connection with you will deepen the bond you have and build an even stronger community of listeners.

This requires consistency across all public channels: photos, videos, tweets, captions, etc. Hone in on what makes your personality unique and highlight it to the world. This will be your “brand” and will dictate the way you’re perceived as an artist. Look to the artists you admire and think about their persona and what they did to shape that image for you.

Find out here how to find your own way of storytelling and how to execute it.

Visual Content

Today’s social media mania requires that musicians also have a knack for visual content. Only after your music is made should you focus on visuals, but make sure to give some thought. In fact, give it a lot of thought, as it will be your primary way of getting the public’s attention and directing them to your music online.

If you don’t have a record label backing you and you’re balling on a budget, that’s ok. All you need is a phone to record something to pair with a snippet of your new music and post on social media. Try to have some short form and long form content to post on Spotify, Instagram, Facebook, and TikTok that will prompt people to find you on streaming services. The goal is to convert viewers to listeners.

Study what other artists are posting on social media to better understand what each platform likes to push. You’ll notice that Spotify likes very short, high-quality video for Canvases, Instagram likes well-edited photos and videos, and TikTok prefers informal, short-form iPhone content. Cater your content to each platform for maximum effect.

– Written by Marguerite Beaussant in its original version, translated into english by Betty Gonzalez Gray –

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L’article How to Grow Your Music Career Effectively est apparu en premier sur Groover Blog.

Independent artists would benefit from working with a publisher for a number of reasons, but most notably to sign a writing (publishing) deal, pitch music for sync placements, and collect royalties. Here is a list of the many publishers you can submit music to directly through the Groover platform worldwide.

EXAMPLE PITCH BELOW

What Publishers Do

In the simplest of terms, publishers (either a person or organization) are focused on maximizing the 1) opportunities and 2) earnings of the writers they represent. Their work focuses solely on the writing, aka publishing, portion of songs – publishers do not handle the sound recording side. Publishing and sound recording are the two categories of royalties that are generated from songs.

Maximizing opportunities for writers means that publishers try to connect writers with people (producers, artists, other writers) who will make a song as successful as possible. If you have written a great song and your publisher believes it could be a hit, they’ll try their best to get a popular and trending artist to record and release it. They can also put writers in the rooms necessary to co-write and collaborate with others, as most charting songs these days are written by a handful of people.

Maximizing earnings for writers means that publishers are responsible for overseeing the collection of royalties and making sure everyone gets paid on time and in full. This means registering a writer’s work with royalty collection agencies (CMOs) and ensuring that all financial affairs are handled properly. It also means pitching the music across the industry for use and sync licenses. Thus, a publisher’s job is both promotional and administrative.

What Happens If a Publisher Likes Your Music?

Whether you reach out to a publisher or they reach out to you, one of the first discussions will be about what you’re looking for in terms of support and what they can provide for you. We mentioned their responsibilities in the previous section, but let’s go into them a bit further.

Signing a Publishing Deal

None of the services you’ll read about below can be carried out without some sort of contract, so being offered a publishing deal is a likely outcome if a publisher takes interest in you. There exist 3 main types of publishing deals, and each covers the services to different degrees.

1. A full-publishing deal, common for newer writers, means the writer hands over 100% of their publishing rights to their publisher in exchange for all services possible. 
2. A co-publishing deal, common for mid-level writers, splits the publishing rights between a writer’s own micro-company and the publisher in exchange for all services, allowing the writer to retain a larger share of their royalties. 
3. An administrative deal, common for bigger writers, means the publisher’s sole service is to collect and manage royalties for the writer in exchange for a small percentage of publishing royalties.

Pitching and Promoting Your Music

Publishers want to maximize profits as much as possible, which requires a song’s frequent use – this will generate license fees and royalties that will keep the earnings coming. Thus, they will pitch a song across the industry for use in performances (ex: singing competitions), professional covers (ex: Whitney Houston covering “I Will Always Love You” by Dolly Parton), and samples (ex: Flo Rida sampling Etta James in “Good Feeling”), amongst other things. 

For songs that have yet to be released, publishers work hard to get them in the hands of big artists who might want to use them for themselves (ex: Ed Sheeran and Benny Blanco writing “Love Yourself” that was eventually released by Justin Bieber) by pitching them to labels. They also help writers collaborate with others on projects; this could mean contracting a writer to come up with a song’s hook while other sections of the song are being written by other contracted writers, for example.

Collecting Royalties

Royalty collection and the administrative duties that come with it are extremely tedious and unbelievably important to get right. Publishers make sure all songs are registered with royalty collection agencies around the world and that writers are being paid as close to 100% of what they’re owed as possible. When payments are being withheld, publishers are there to contest any claims that don’t belong and represent their writers in any disputes.

Offering Guidance

If a publishing company likes your music but believes you aren’t fully cooked yet, they will likely offer you feedback and keep tabs on you and your progress. Though this may not be the outcome you initially hope for, it’s invaluable insight into what you can work on and what to direction to point your music towards to open more doors.

If you do end up signing a deal, guidance is one of the biggest things you’ll be offered – they will be able to tell you what type of music they think will get you the most opportunities and highlight your strengths and weaknesses. Having a trusted outside opinion who sees your work objectively can be extremely beneficial to your career and development as a writer.

How to Find a Publisher

There are quite a few ways to track down publishing companies to potentially pitch yourself to. Online databases are the first place we recommend – BMI and ASCAP have collaborated on Songview, for example, which is a directory that combines the two agencies’ catalogues and displays all song metadata for any of their works, and it’s completely open to the public. There, you’ll find a list of all the publishers involved with any song you search.

Here’s what comes up after a quick search of “Love Yourself”:

You can also look at album and song credits, either online or on physical CDs and vinyl sleeves. Spotify displays label and publisher information on the bottom of album pages under the tracklist. Use this to find the publishing companies of the artists you think you are similar to. If they’ve worked with someone like you, it may be a good fit.

A quick Google search never hurt no one! Searching for publishers that specialize in your genre is only a click away. “Indie Rock music publisher” or “Pop song licensing” will certainly give you a list of websites and services to choose from. 

What to Say in Your Message

Once you’ve found who you want to submit your music to, you’ll need to craft a message that is both professional and friendly. 

Start by briefly introducing yourself, ideally including what where you’re based and what type of music you write. Go on to explain why you’re reaching out. Make it clear that you are submitting music for consideration and explain why your songs would fit the roster they currently represent.

Now focus on the track. Include the title, a brief description, and why you think they should listen to it. Do not go overboard in hyping it up – simply explain why you believe in it. To close the message, thank them for their time and include links to your music, ideally with a private SoundCloud or YouTube link. Avoid sending attachments as it may clutter their email and disappear in their downloads.

Important Reminders

• Use hyperlinks
  • To make things easier and keep your email clean looking, use hyperlinks throughout your message on top of sending a list at the end. When you mention your track’s title, make the words a direct link to the platform you want them to listen on.
• Be picky about what you send
  • Publishers receive tons of submissions, so only send music that you believe is your very best work. Make sure they are polished and representative of your talent.
• First impressions are everything
  • In music, if a demo sounds rough or unprofessional, it’ll be skipped within seconds. Get your demos mixed and mastered before submitting them.
• Less is more
  • It’s better to send two killer songs than ten mediocre ones, so choose only your strongest material to represent you in the eyes of your potential publisher.
• Get help to write your message
  • Sometimes we get so invested in our music, we are incapable of describing it in just a few sentences to really get our message across. Ask trusted peers and friends to help get an objective read on your message before sending it off. Does it come off as professional and straightforward?

Example Pitch

If you’re struggling to write your pitch, it’s ok to get inspiration from those who came before you and research examples online. You can even use AI to get a sample message and better understand the structure that you’re going for. Here’s what we got when we asked ChatGPT to come up with a message to send to a publisher based on the points mentioned above – maybe it’ll help you:

“Dear [Publisher Name] Team,

Hi, my name is Alex, and I’m an independent singer-songwriter based in Nashville. I specialize in acoustic pop with heartfelt lyrics. I came across your work with [Artist/Project] and I think my song “Stay” would align well with the types of songs you represent. 

“Stay” is a mid-tempo acoustic pop track with a strong chorus and lyrics about resilience and love. It has been well received at live performances, and I’d love for you to hear it.Thank you for considering my music! You can listen to “Stay” here: [link]. I look forward to hearing your thoughts.”

Of course, you should not use an AI generated message as your final pitch. Write something that is in your own voice, using AI as a tool for inspiration only.

Now that you know what to do, pitch away!

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Are you looking to contact music publishers and other pros of the music industry? 👇

L’article How to Submit to a Music Publisher est apparu en premier sur Groover Blog.

Here is a breakdown of the different roles you may encounter at the beginning stages of your career and when and why they are important. If you feel like you may need to find some team members after reading this article, don’t hesitate to send your music to current music industry professionals on Groover! There are hundreds of curators & pros on the platform that will help you promote your music and aid you in the development of your career… who knows, maybe you could find some lifelong partners.

1. Manager

One of the most common roles in the music business and very often the first position to be filled is that of the Artist Manager. Traditionally, an artist manager is a representative of the artist that helps build, promote, and direct the artist’s business affairs. The responsibilities of a manager are quite flexible because they essentially adapt to the artist’s needs. They can negotiate contracts and fees, book performance and studio opportunities, help the artist develop their branding, create business plans, provide feedback on music, manage an artist’s social media, promote music and events, and more! The manager is essentially the artist’s go-to person; whatever the artist needs, the manager will figure out how to provide. This usually means that managers are working 24/7 and cultivate one of the strongest bonds with the artist along their journey.

J. Cole with his college friend and manager Ibrahim Hamad

The question is, do YOU need a manger? And if you do, how do you choose the right one? It is completely logical to think that you may not need a manager given how well you’ve been doing on your own. There are a lot of self-managed artists out there, however artist managers allow for artists to focus on their music. By having them cover the business side of things, they allow the artist to have all of the creative freedom and space to create; at the end of the day, who needs a manager if you don’t have music? So, if you’re feeling slightly overwhelmed by the administrative duties you’ve accumulated as your career has progressed, maybe you should consider partnering up with a manager to focus on your craft.

If someone is offering to be your manager, ask them who they know, who they’d introduce you to, and why they want to work together. A manager, just like all other roles within your team, needs to help accelerate your career and not just take a cut of your total earnings. They should believe in you 100% – that is the most important factor. Though it helps to already be well established in the industry, it is not a must to be an effective manager.

The flexibility of a manager’s job is what makes them the ideal first person to get on your team, especially at the beginning stages of your career when they can cover multiple roles at once without too much hassle. A person who loves your music, is willing to fully commit to the growth of your career, and has a good network of contacts (or is willing to go find them) will likely be a great manager to help accelerate your career and be a great asset to your team.

Are you looking for a Manager ? ⬇️

2. Agent

An essential part of being an emerging artist is playing live shows, and an agent is the person who negotiates and confirms performance opportunities. Along with this, they will oversee touring by planning tour dates and routes, taking care of all aspects of the tour’s contracts (fees, rider, sponsorships, etc) and will find supporting acts for your headlining tour (if necessary).

Contrary to popular belief, there is no right time to find an agent. Agents should actually come looking for you! A vital part of being a successful agent is loving the artist you work for and wanting as many people to hear their music as possible. Therefore, wait until an agent knocks on your door and offers to represent you or your group. This is an easy way to guarantee that the agent is passionate about your career and making sure your music is heard.

On average, agents take a roughly 10-15% cut from the gross revenue made on live shows. Though it may seem like a daunting figure to you now, agents can provide huge profits in return and be well worth that percentage. However, it is very important that they are well connected and have active relationships with venues, festivals, promoters, other agents, and management teams. Therefore, don’t be afraid to ask around about an agent (or any other role for that matter) before officially signing them on. Reputation is everything in the music industry, so make sure all of your team members have positive existing reputations.

3. Marketing and Promotion

Nowadays, an active social presence is a very important aspect of an artist’s career. Typically when starting out, artists are in charge of their own socials and music marketing. However, as things begin to grow, you may have to delegate this responsibility to other people. Within the marketing and promotional world of an artist you may have a publicist, promoter, and/or a social media manager.

A music promoter will broadcast and promote an artist’s live performances or appearances. Their main goal is to bring as many people to your shows as possible. Typically, promoters will negotiate directly with an agent or venue. Therefore, in my opinion, a promoter is not an essential team member, especially for an emerging artist. However, they are a big and common intermediary in the life of any artist so it is important to know what they do and why they are helpful.

A publicist represents the artist in media and finds new media opportunities for the artist. Anything that could be covered by the media, a publicist will be in charge of setting up and carrying through. It is therefore essential for a good publicist to have great media connections. Publicists are usually not full-time team members and will have a fixed-term contract surrounding the publicity of a specific release (album, single, tour dates, etc). As an emerging artist it may not be necessary to have a publicist on your team, but it is necessary to build those relationships with the media. Cultivate personal relationships with writers, bloggers, radios, other media curators and pros. Groover is a great tool to do so. When starting your campaign to pitch your music to professionals, filter and select all types of promotional curators – start building these relationships now.

Last but not least, there is the social media manager. A social media manager will aid the artist in creating a social media strategy and give guidance on content creation, often managing the accounts themselves. They focus on when and where to post content, finding and implementing a voice and tone throughout channels, analyzing metrics and changing strategies accordingly, etc.

Keep in mind that it is also quite common to hire a social media expert in more of a consultant role depending on how developed an artist’s social media presence is. Don’t be afraid to test the waters and create your own presence before reaching out to an expert. There’s nothing an audience loves more than someone being their authentic selves. My personal advice would be to hold out on finding a social media manager or consultant until you have enough of a following for their job to not only be necessary but, will further elevate and accelerate your career.

Check out: How to use Groover to promote your music

4. Lawyer

I think it goes without saying that everyone can benefit from having a lawyer in their corner. As an artist, having an entertainment lawyer can be particularly helpful. Entertainment lawyers will create and review contracts with any and all parties, navigate and negotiate contracts as necessary, help protect your intellectual property, and ensure you collect all of your earnings owed to you which, as an artist, is a key factor. Moreover, if you ever have a weird feeling about anything or anyone, having a lawyer can be quite beneficial. They can take action as necessary or ease any situation.

It is impossible to talk about lawyers without mentioning the grave expense that comes with having one. I suggest reading up on your music rights yourself in addition to having a legal contact that you can rely on whenever you have doubts. There are also many lawyers who will work pro bono or offer special rates if you ever do need their services. Do your research and investigate your options because as an artist that is just starting out, not only is it important to know your legal implications, but you most likely don’t need a lawyer just yet.

Check out: Music rights and how they work

5. Publisher

First and foremost, if you are a songwriter, you need a publisher or some sort of relationship with a publishing company in order to get your music out there and get paid. The question at hand is not whether you need a publisher but rather whether you need a publishing deal, and when the right time is to affiliate yourself with a publishing house. When you feel ready, our guide on how to get your songs published explains how to find publishers and what to say in your message.

Music publishing allows for your music to get licensed so the rights belong to you, and therefore the earnings do too. A good music publisher is one with a huge network that may allow for your music to grant licensing to movies, TV shows, ads, video games, etc. … they can even set you up with other artists, producers and songwriters to develop your songs for other artists. One of the biggest roles they take on is that of royalty administration (mechanical, sync and master licenses). Therefore, when signing a publishing deal you are granting the right for your publisher to administer your songs as if they were their own which, can bring many benefits but, as you can imagine, can also be problematic with the wrong partnership. Publishers often take a hefty cut of your royalties if you’ve signed with one.

6. Do you need a label?

Many argue that the acclaim associated with being signed to a label has dissipated since the quick evolution of the music industry in the last decade or so. Nowadays, you don’t need a label to ‘make it’, let alone a major label; many artists opt-out of signing with major labels and choose to associate themselves with independent labels (Adele, Radiohead, Kaytranada, etc) and still reach pinnacles of fame. One of the biggest reasons as to why this is the case is due to the advancement of technology, social media, and the widespread availability of resources.

One of the biggest turnoffs from signing to a major label is the massive cut they take from your paycheck; today, record labels take an average of 85% of the total revenue made by an artist! However, in exchange for the music and brand, major record companies will provide an artist with marketing, distribution, production, salaries, and access to connections that would otherwise be incredibly difficult to get. Thus, the reason why labels still carry a lot of clout: they can move mountains, so being signed to a label as an artist is an asset not only to your career but to your reputation as a whole.

So, do you need a label? No! Especially not as an emerging artist. You can do everything that a label can do from the comfort of your own home without selling your soul to them (record, release and distribute music digitally, market yourself through social media, sell your own merchandising, play live gigs, etc). However, labels can provide funding and access. If you’re at the stage in your career where you need both of those things, then I would recommend you start looking into getting signed by a label, whether major or independent.

| Check out: How to get signed by a label as an independent artist

7. A jack of all trades

As mentioned earlier, you have little to no team when you are just starting out as an artist. However, having people around you is a great asset to your career because you can focus more on your artistry and less on the business side of things (this does not mean that you shouldn’t be well versed in both!) Therefore, it is very common to have a friend or colleague cover the responsibilities of many of the roles mentioned above when you’re starting out. In my opinion, this is the best team member to have because you may not have the funds to employ a number of people just yet, and it’s a great way to guarantee that the person working for you is truly passionate about your career and your music. This is an essential quality in a multifaceted role like this one. So, if you have a trusted friend or acquaintance that is willing to go on the journey with you and grow together, let them!

8. DIY – Be your own team

Though after reading this article it may seem overwhelming to do it all yourself, it is important to start out independently. By familiarizing yourself with the duties of each team member through personal experience, you’ll be able to identify the best person for the job when the time comes and know whether they are doing good work. Moreover, you want to build your own network and fanbase in the early stages of your career by connecting with them on your own to establish an individual relationship, so do the grunt work in the beginning… it will pay off!

Conclusion

Though we recommend starting on your own, that does mean you’re working alone in your efforts to further your career; there are hundreds of tools you can use for advice and assistance! This blog highlights some outside sources that you can use in addition to the hundreds of articles we’ve written that you can always fall back on if you ever have a question.

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Begin to contact some of our curators and pros on Groover now!

L’article Which Music Artist Team Members Do You Need To Accelerate Your Music Career? est apparu en premier sur Groover Blog.

If the label wants to sign you as a result of a successful song, they will either want you to sign as either an artist or a songwriter. This distinction is determined by what they see when they look into your work, and therefore what they envision for your career’s future. Are you a future star, or could you be the writer behind tomorrow’s big hits? 

1. Artist vs. Songwriter

Signing as an artist is a big commitment for a label. Most contracts will outline that the label is responsible for all things regarding production costs, marketing, promotion, and artist development. They will essentially pour their resources into making you the next big thing. This will be offered if they find that you are already building a significant following, your music is in high demand, and they can help mold your personal brand. On your end, you’ll be expected to have a hunger to breakthrough and do whatever it takes to get there, working closely with the label in all aspects of your career to make it happen.

Signing as a songwriter comes with an entirely different set of expectations for both label and artist. If they find that your music could do very well when placed in the right hands, they’ll want you to sign as a writer that will provide material for other artists. This is great for those who love the creative aspect of music but aren’t interested in fame. If you sign as a writer, you’ll be expected to attend writing sessions with artists and other writers and pump out songs for the label to distribute to whoever they think might want to perform it. They will act as a publisher and connect you to those with whom a collaboration might make it to the charts.

So which type of contract would you prefer? If you know the answer, show them. Labels will take a look at everything you do – not just your music – before deciding where their interest lies, and you have control over what’s out there.

2. Here are some of the things the record label will do before deciding anything

Social Media

Social media has become the most obvious place to analyze a person and their following, and is therefore place labels will turn to first. It is the biggest tell for whether or not you are gaining traction and to what extent. The primary reference points will be Instagram and TikTok, though they will likely check X as well. It is a very good sign if you:

• Post often
• Have a substantial following
• Have good engagement rates (likes, comments, views)
• Are verified
• Vary your content by platform
• Post high quality content (professional shoots, well edited videos)
• Have both photo and video content
• Are vocal about your releases, shows, and music in general

Songwriters are often pretty low key on social media, making it more obvious to labels that they are not interested in being overly promotional of their work and prefer to stay behind the scenes. If you’re not quite sure where you stand, try to shoot for a healthy mix of regular social media activity and staying selective with what you share.

Streams

Spotify streams are obviously very reflective of how well your music is doing, so expect that the label will visit your artist page. This is where you can really shine and still grab the attention of a label if you’re not super into the social media game. Even with very few followers, if your music is consistently performing well on Spotify, the label will take notice. At the end of the day, these are the metrics that matter most! If you have a healthy stream count and have not yet committed to an image or social media presence, labels will be express interest and ask if you see yourself writing or performing in the future to better understand where you want to go and if they can invest.

This is actually a great place to start if you’re unsure of the role you want to play in the industry. Instead of splitting up your attention, focus only on the music itself and making sure it’s properly released – the opportunities will find you.

Features and Collaborations

Another factor that can help your case in getting a contract offer is features and collaborations with other artists. You can absolutely be approached if you don’t have any solo music released and have just been a feature artist, so long as the songs have done well and they appear on your Spotify artist page (which is automatically created when you are listed as an artist on a song). If you’re solely a writer, the equivalent of this would be to have written songs for artists that have been recorded and released. This is an impressive feat if the song has a significant amount of streams or if the artist who recorded it has a large following. These types of collaborations show that you’re active in the music scene and are already building an expansive network on your own.

Live Shows

A bonus element of your career portfolio that labels sometimes check is whether you have live show experience. This is not expected but is a huge plus, as it shows that you have already drawn audiences and are not afraid to get onstage. Even better if you have footage or photos from the shows to showcase your stage presence and the energy you and your audiences share.

If you’re lacking in this area, keep an eye out for any Groover springboards in your city – they’re hosted everywhere around the globe. These artist showcases are designed to help those who do not have much live show experience book a gig and get comfortable onstage. We get in touch with venues, and Groover artists come play. All you need to do is apply! The quickest way to get notified about upcoming springboards in through our Instagram.

3. A Deal is Not Guaranteed Success

Please remember that though a record deal sounds like a sure fire way of “making it” as an artist or writer, that is not always the case. Signing with a record label will provide you with resources, and it is what you do with those resources that matters most. It is also of the utmost importance that you know exactly what you need from the label, and what they are willing to give you. If they do not have your best interests at heart, do not sign just to sign. It is better to be alone than in bad company!

Far too many artists have signed with big labels and been disappointed by their lack of enthusiasm and commitment to them. It’s easy to be ignored when your “boss” has hundreds of clients. On the other hand, signing with an independent label can be the best thing you do for your career for this very reason. Because they represent fewer artists, they devote much more time to each one and are highly responsive. On top of that, if they’re excited about you, they’ll do everything they can to get the ball rolling and keep your career momentum going. The indie labels who have partnered with Groover are waiting for you to get in touch with them right now – go check them out.

4. Study Before Signing

If you do plan on signing with a label, make sure you are familiar with the types of contracts commonly offered to songwriters and artists so that you do not go in blind. Better yet, hire an entertainment lawyer that can help you go over the fine print of your contract and cover all your bases.

Remember that labels have a lot of power, but without artists they have no business. Use your streams, social media following, collaborations, or live show turnouts to increase your bargaining power when negotiating your contract. If you’ve done very well in one area on your own, you can try to reallocate resources from that area to another, reminding them that you could easily take care of that aspect of your career without them. Make sure your contract and the services they offer serve you in the areas you need it most.

You’re Ready to Go

Now that you have an understanding of what labels are looking at and what they might offer, you’re ready to make a deal. Refine the way you present yourself to best reflect what role you want to play in the industry and keep an open mind should a label suggest another vision. Nothing is permanent, so trust your gut and see where it takes you!

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L’article A label showed interest in your music—now what? est apparu en premier sur Groover Blog.

The major record companies like Universal Music Group, Sony Music and Warner Music Group (also known as the big three) have A&R teams, often separated by genre. An independent record label, however, may have just one A&R rep in charge of finding artists for their roster, depending on the size of the label.

1. Understand their discovery process

Before you submit your music to anyone, you should know how they find artists so you can position yourself accordingly. A&R reps scout new talent by:

• Listening to and discovering new music on streaming platforms
• Going to live shows and festivals
• Scanning social media and press pages for anyone gaining traction/attention
• Listening to demos that artists send to their label
• Word of mouth

If they are interested in someone, they will often reach out to artists themselves via social media or email. You do not need to have tons of streams to spark the interest of an A&R, just authentic music! So, make sure to have your contact information readily available on all your social media pages.

2. What do A&Rs look for in new talent?

Comfort using social media

The more saturated the industry is, the more selective labels must be in their signing process. Now that TikTok can churn out hit after hit from smaller artists, labels are forced to pay attention to who’s willing to build a fanbase on their own without any help. Though unfortunate, the current reality is that the better you do at creating an online community independently and generating buzz around your music, the more likely you are to get contacted by a label. It is less of a risk for them; they know that with a solid foundation already there, the resources they spend on an artist will not go to waste.

Defined but malleable look and sound

A&Rs look for artists and songwriters who they believe will fit in well with their current roster, bringing something new to the table while also having a familiar musical style. You do not have to be fully cooked in order to get signed. In fact, it’s actually better to know what direction you’d like to go in terms of your look and sound, but still have room for growth. Labels want to know that they can still shape you to become the artist they envision you being. Once you sign, that shaping is often led by a creative director in music, who works with you on your image, visuals and public persona.

Self sufficiency and awareness

As an artist, you do not need to know how to do everything alone, though it is very attractive to labels. The less work they have to do, the more keen they are on bringing you into their team. After all, the more hats you can wear, the more value you bring to the table. If you can not only perform but also write, produce, engineer, self-promote, create content, or any combination of those skills, you will have a huge leg up compared to other artists.

This also means knowing your blind spots. At the end of the day, A&Rs and labels are there to help you grow and give you the resources necessary to do so. If you already know what areas need improvement (your song’s mixing and mastering, your visual identity, etc) it will be far easier to get the help you need in order to become a well rounded musician, which is a win for all parties!

Story to tell

Audiences and labels alike love a good story. This is not a requirement, but having an interesting background or life event that led you to want to become an artist is something people latch onto. If you can evoke emotion from the people around you, they will want to support you even more.

3. How to get in touch with and submit music to A&Rs

What we’ve all been waiting for! It is absolutely possible to get in touch with A&R reps without them having approached you first. Things you should have prepared:

• Demos or released music (a must)
• Artist bio (a must)
• Links to all streaming pages (a must)
• Links to all social media pages (a must, even if small)
• Footage/photos of past performances (if any)
• List of media coverage/press (if any)
• Electronic press kit (if any)

Most record labels have a contact form or email where people can reach out for general inquiries. If you want to make sure your music gets listened to, dig a little deeper. Try to find the contact information of specific A&R reps at that label. Do some research to find out which artists they have worked with to deduce who out of the bunch might be the most interested in you. Once you’ve made your selection, browse their professional bio, LinkedIn, or even social media to find an email you can contact, or message them directly on the platform where you found them. If you’re having trouble finding the emails of A&R reps, check out the A&R reps on Groover. They are guaranteed to see your message, and our form will walk you through the assets you should send them so you don’t miss anything.

Crafting your message

We cannot stress this enough: keep it concise. A&Rs are flooded with messages every day, so keep your email brief and to the point. Include the aforementioned list of assets and keep it visually clean by using hyperlinks! These are links embedded in your email that are directly clickable. If you mention that you are gaining traction on streaming platforms, link your Spotify page to the words “streaming platforms”. This is less work for the A&R, and you are seen as highly organized, and somebody worth working with.

You may be reaching out to a large number of people – do not let them know that. Personalize your message for the person you are reaching out to. You may absolutely use the same template for all your emails, but do not make it so generic that they can tell they are one of many, and you are willing to take whatever opportunity comes your way regardless of who it is. Let them know why you want to work with them.

Following up

It’s okay if you don’t get a response! This is very normal given the high volume of artist messages A&Rs have to sift through. Feel free to send a follow up message after a week or two (without spamming them) if you feel inclined to do so. Remember, if you get a no, you’re talking to the wrong person!

Now that you have all the tools you need to submit music to A&Rs, it’s time to get to work! Send your music to professionals in the industry to get guaranteed feedback and potential opportunities through Groover.

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L’article Submit Music to A&Rs: How to Get in Touch with A&Rs est apparu en premier sur Groover Blog.

When it comes to the role of a music producer, it’s a job title that has always had many different definitions. There’s the old version of the job that was linked to a record company, but as we’ll see in this article, that’s not necessarily the case today.

1. What is a music producer?

The role of the music producer

In very simple terms, a record producer is the person responsible for overseeing the creation of music.

This is the person who helps the artist realize their full potential through their music. Their job is to bring the artist’s vision to life and create a finished product that conveys the emotional message of the music and makes listeners feel what the artist wanted them to feel.

The different types of music producers

A music producer can stay in the background and not influence the work too much. Their job then is to guide the artist through the recording process and help them achieve the vision they have, making a few small changes here and there. For example, he can rewrite parts of one or more songs, and re-record instrumental parts so that they sound different and correspond more closely to his vision of the artist, overseeing the overall creative process.

The difference between a music producer and a sound engineer

A sound engineer works in a studio where he or she knows all the ins and outs: the equipment available and its location, the microphones available and those best suited to each recording, the way the patch bay works… Their job is to prepare the studio for recording, check the microphones once they are installed, and supervise the recording process from a technical point of view.

A sound engineer doesn’t have as much say in the creative aspects of production as a music producer, but he or she listens to what the music producer has to say and carries out the tasks for the producer in a way that the producer understands. Many engineers one day become producers themselves, leveraging their deep understanding of sound quality.

The rise of home studios and what that means for the recording studio and music producers

That said, things have changed a lot in the recording industry in recent years, and these changes have led to a shift in roles in the studio. This means that people are producing and engineering at the same time, and the title of ‘music producer’ has sort of been lost in the transition because now it’s easy to do it all: artist, producer, and sound engineer.

That said, there are still a lot of record labels that work with music producers and sound engineers and the job titles are still distinct.

2. The different roles of the music producer.

The job of a music producer encompasses many different facets and roles.

A music producer is responsible for budgeting the musical project

There is no project without money. The music producer can propose a budget to the record label, which approves it, or the record label can suggest a certain budget for a project.

A music producer is responsible for organizing the recording sessions

As far as recording sessions are concerned, it’s up to the music producer to book studio time. This will have to be done on a budget and the music studio they choose will depend on the equipment available in each studio and the sound they are trying to create. A good music producer will plan and be present during rehearsal and recording sessions, working closely with record producers to ensure quality performances and oversee the entire recording process.

A music producer has to ensure that a song is saleable

That’s why he’s associated with an artist because there’s a much greater chance that the record company will get an album that it can sell. A successful music producer ensures that the final product is commercially viable and meets the industry’s standards and for this, he needs to know a lot about the music business. 

A music producer sees the potential of a song and what needs to be done

He can also choose the right musicians for the song, whether it’s a different bass player or drummer, and he can also influence the song in terms of structure, tone, tempo, and sometimes even lyrics.

That’s when the music producer gets involved in the creative side of things, especially when producing their own music.

3. What skills does a music producer need?

Because of these different roles, a producer needs to have a wide range of music production skills, and while a good producer knows a bit of everything, a great producer knows a lot, whether it’s technical skills, musicality, engineering…

A good music producer has a strong musical background

As we saw earlier, a music producer is often involved in the creative side of things to ensure that the artistic vision is realized. But to do this, he or she needs to have some knowledge of music theory, and rhythm theory, he or she may even be able to play several instruments and be familiar with arrangements and how songwriting works. He needs to know what makes a good melody, and he needs to be able to recognize a strong vocalist, like any musician, he needs to focus on ear-training. Basically, he or she needs to know how to make a song. 

All these skills can be very useful and musicianship can make the difference between a great music producer and an average one, especially in diverse genres like hip hop, but overall in all music genres. 

A good music producer knows a lot about audio engineering

This means knowing at least the different types of studio equipment, both analog and digital, and having a basic understanding of how music is recorded and of mixing and mastering. He needs to know the basic recording techniques and production techniques such as multitrack recording, overdubbing, layering, equalization and panning, and stereo image, how to work a mixing console and manipulate audio, and the various plug-ins available, he also needs to familiarize himself with various Digital Audio Workstations (DAW) such as Ableton Live, Pro Tools, FL Studio, Logic Pro, Cubase…He also needs to know about various synthesizers, MIDI keyboards, drum machines… and sound-effects like reverb and delay. 

In effect, he needs to know how he thinks things should sound and how to make them sound – and how to communicate that. For example, he needs to know which compressor he wants to use on which sound so that the track sounds the way he wants it to. In many cases, the producer actually has an engineering degree or has followed various engineering courses, or at least gotten some hands-on-experience in a recording studio. 

They need to know how the studio sessions work in order to stay within budget and on time.

A good music producer knows a lot about the music business

A good music producer must have a keen sense of what is good enough to put on the market and what actually sells. He needs to know what meets industry standards. 

Here are some questions he or she should keep in mind during the music creation process: what is the music market like? What are the current trends in music? … because a music producer’s job is ultimately to create a product that sells.

He also needs to know what happens to a song when it’s on the market and about music marketing, as well as how things such as royalties work to be able to advise his or her artist. 

And finally, he can also influence the visual media (film and video) that will be used to market the artist and for this, he needs to have a good knowledge of how the entertainment industry works as a whole. 

In conclusion, being a music producer can be one of the most rewarding music careers and if the role of a music producer is constantly developing as the music industry evolves, whatever his or her role, a producer is vital to the successful release of a music project.

👉 Interested in learning how to produce music? Check out Pete Tong DJ Academy courses

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L’article What is the role of a music producer? est apparu en premier sur Groover Blog.

There are far more record label contract variations than you’d expect, and they can be between artist and record label, distributor, publisher, or producer. Within each category, though many of their terms are shared, small differences between them can make for hugely different outcomes for you depending on your needs. Let’s firstly go over a couple things you must understand before studying these deals, and then break down what each main type of artist contract entails.

Key Takeaways:

• Tradition record deal
  • Substantial advance
  • Depending on label, either given as personal financial support or as an investment in the project
  • 80/20 royalty split (at best) after recoupment
  • Label owns the masters and any songs written/recorded during the contract term forever unless specified otherwise or sold down the line

• 360 deal
  • Substantial advance
  • Label pays for everything but expects everything to be paid back, not just the advance and recording costs
  • Label owns everything – masters, as well as your image and likeness
    • Therefore controls where your music is used, and where your name and picture ends up
  • After initial recoupment, label takes a percentage of ALL revenue streams

• Profit split deal
  • Substantial advance
  • Label owns the masters
  • Label recoups on advance and all other expenses
  • 50/50 royalty split after recoupment

• Distribution deal
  • Only covers distribution and playlist pitching – everything else is the artist’s responsibility
  • Sometimes an advance, but not always
  • Artist owns masters
  • 75/25 royalty split after recoupment (depends on contract)

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1. Terminology You Should Know

What is an advance?

An advance is a lump sum of money given to an artist by a record label/distributor/music publisher upon signing a contract with them. It is essentially a loan that can be used by the artist to fund their lives while they are in the process of recording and preparing their next release – kind of like early income. It is similar to a loan because, almost always, it must be paid back using the income earned from the music. Depending on the services offered according to the contract, artists must sometimes use the advance to cover any costs related to their project, as well as up-front payment for their team (managers, lawyers, etc.), as they are not being covered by the label.

What is recoupment?

Recoupment is what we call the payback process of an advance and recording expenses (or other expenses if that is within the contract terms). Future royalty earnings are what will be used to pay back the advance and recording expenses. Let’s say an artist receives a $50,000 advance from their record label, and costs for time at a recording studio and hiring musicians comes out to $10,000, paid for by the label during the production process. Once an artist’s record sales have hit $60,000, the advance and recording costs have been “recouped”, and any future earnings will be the artist’s to keep (within the royalty agreement of the contract).

What is a royalty split?

Royalties are shares of income, so a royalty split is who gets what percentage. When you sign a deal with a record label, they often take a majority of the royalty split. If you see “80/20 split” for example, that means the label takes 80% of earnings from that income stream, and the artist takes 20%. Remember that royalties are not earned by an artist until after recoupment (unless there is no recoupment required in the deal). Only then will they begin receiving their percentage.

What does “owning the masters” mean?

A “master” is what we call the final recording of a song – the one that is distributed to streaming services, radio, social media, etc. It is one of the two main types of ownership in music, the other being ownership of the song itself (melody, lyrics, composition). When a label “owns the masters”, that means it owns the official recording of an artist’s song. When you own masters, you are the overseer of where the music is used, and can approve or deny the use of the recording in different scenarios. Therefore, if you own your own masters, you have control, and if the label owns the masters, they have control.

What are the different types of income streams in music?

It is important to understand how many channels through which you can generate revenue in the music industry, as certain contracts may ask for a percentage of more than just record sales. Here are the main income streams, though there are other small ones that pop up along the way.

• Music sales (streams and physical sales of CDs, vinyls, etc.)
• Touring (ticket sales)
• Merchandise
• Features (the rate you charge to be a feature artist on a song)
• Licenses (use of your music on TV, in movies, video games, etc.)
• Performances (from a festival or private event to perform)
• Appearances (by venues or events to just show up)
• Sponsorships (brand partnerships, either commercial or on social media)
• Selling beats

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Without further ado, here are the main types of record deals in music:

2. Traditional Record Deal

A traditional artist contract is the most common type of deal between recording artist and record label. Record labels will pay a relatively large advance in exchange for their services and ownership of the songs written and/or recorded during the term of the contract. After recoupment, the label will take a roughly 80/20 royalty split, but the artist’s share ultimately depends on their bargaining power. The smaller the artist, the smaller the advance and royalty split. If an advance is used wisely and a project is marketed strategically, it can get enough traction to recoup in full off of one release and allow the artist to receive better offers before starting work on the next project.

The services offered by the label can depend on the contract. This can be anything from recording costs (studio time, engineers, instruments, musicians) to distribution and marketing. If you are being given an advance and most services are included, you can use your advance as your own income until you start receiving earnings from your music. If you get an advance but project-related costs are not included, you are expected to use the advance to pay for them. This version is essentially an investment in your project by the label as opposed to personal financial support. Any unused money left over if a project is under budget can be kept, though your manager often gets a percentage.

The most standard deal is that the advance can be used however the artist chooses, as long as it, plus recording costs, is eventually recouped.

With major labels, they are such huge companies that they can afford to provide all resources as long as they recoup the advance and recording costs. Given their power, however, royalty splits are likely to be very small for newer artists.

TLDR:

• Substantial advance
• Depending on label, either given as personal financial support or as an investment in the project
• 80/20 royalty split (at best) after recoupment
• Label owns the masters and any songs written/recorded during the contract term forever unless specified otherwise or sold down the line

3. 360 Deal

A 360 deal, stemming from the 360 degrees in a full circle, means the label controls everything. Though this may sound like less work for the artist, it comes at a hefty cost. In this case, because the label pays for everything, it also owns everything – we’re talking about the masters as well as the artist’s likeness and image. 360 deals are one of the most exhaustive music industry contracts, covering every aspect of an artist’s career.

The record label provides a recording artist with an advance that they can use as income, and it pays for recording, marketing, touring, merch, promotion, and all other costs. In exchange, every one of these costs are entitled to recoupment, and the label takes a percentage of ALL income streams once expenses have been recouped. Trad record deals only recoup from earnings off of music sales, while 360 deals take either a flat rate across all revenue streams, or take a different percentage per revenue stream depending on the contract. Regardless, no matter how much you make and by what means, the label takes a chunk. This includes appearances, merchandise, and even features.

Ownership of your likeness and image means that only the label has a say in where your music is used and where your name or picture may end up. They do not need your permission for any of it.

TLDR:

• Substantial advance
• Label pays for everything but expects everything to be paid back, not just the advance and recording costs
• Label owns everything – masters, as well as your image and likeness
  • Therefore controls where your music is used, and where your name and picture ends up
• After initial recoupment, label takes a percentage of ALL revenue streams

4. Profit Split Deal

A profit split deal is a combination of a traditional record deal and a 360 deal. The recording artist is given a large advance and gives up the rights to their masters, but gets an even 50/50 royalty split with the record label after recoupment. This type of profit split deal is a form of recording contract that allows for greater earnings on music sales, but while trad record deals only expect to recoup the advance and recording costs, this contract demands that anything spent on the artist must be earned back. Unlike the 360 deal, the label does not take a percentage from any income stream other than music sales.

This type of deal is great for artists who already have a decent following but just need more resources. If you need support for production expenses but know your music will make the money back and then some, this is a good deal to sign. The more ownership you have over your masters, the better.

TLDR:

• Substantial advance
• Label owns the masters
• Label recoups on advance and all other expenses
• 50/50 royalty split after recoupment

5. Distribution Deals

Another party with which an artist can strike a deal is with a distributor, or the distribution branch of a record company. This is ideal when an artist does not necessarily need support for things related to the making of a project, whether it be the recording of the songs or the filming of the music videos. Distribution deals mean that an artist gives exclusive distribution rights to a distributor. They are then responsible for making your music available on streaming platforms, social media, radio, and in physical stores (CDs, vinyls, etc.). Most of the time, they also cover playlist pitching.

Distribution deals do share characteristics with label deals, however. Some deals offer an advance followed by a 75/25 (on average) royalty split after recoupment. Because the artist took care of the making of the project themselves and did not need assistance until release, the artist retains ownership of their masters.

This type of contract is great for indie artists who are able to cover the production process without help, but need to get their music in the right places. Remember that marketing and promotion remains your responsibility.

TLDR:

• Only covers distribution and playlist pitching – everything else is the artist’s responsibility
• Sometimes an advance, but not always
• Artist owns masters
• 75/25 royalty split after recoupment (depends on contract)

6. Things to Remember Before Signing

Lawyer up

Though we completely believe in your ability to do your research before committing to something, it is wise to get an entertainment lawyer if you can. They have seen it all, and will be able to not only read the fine print but also recognize any potential scams or loopholes you may not know to look out for. You will also be able to tell your lawyer exactly what you want out of your deal and what your non-negotiables are so they can communicate with the other party accordingly. In addition, having someone backing you legally looks great for credibility purposes and how seriously a record company is going to take you during the negotiation process. As an alternative to a full hire, you can always do all your research, write down your questions, and then hire a lawyer for a one-hour meeting to go over everything with you. You’ll be saving money and getting expertise, even though it’s for a short time. Just come prepared!

Everything can be negotiated

All contracts can be negotiated, especially in music. These artist contracts are very common, but their terms, particularly the advance and royalty splits, differ per musician. Some musicians receive $20,000 advances while others can negotiate upwards of $1,000,000. The more bargaining power you have, the better the deal, so make sure the label knows how much your audience wants music from you. You can leverage your fanbase, social media following, press write-ups, and any other promising accolades to show proof that your music is sought after, and they can take a risk on you. If you have another record company offering you a deal, you can use this to negotiate a bigger advance and better royalty rates from the label you want to sign with.

Contract length

The importance of understanding contract length cannot be overstated. Contract length can be by time or number of projects. Make sure to take both into account when you are considering a deal. What if you sign a 5-year contract but get an amazing response in your first year, and suddenly you’re stuck with a bad royalty rate for another 4 years? What if you sign a deal for 3 albums but no longer want to give them ownership of the masters following the second one? The best thing to do is sign a deal for one album cycle, and see how it goes. You will then be able to renegotiate terms if things go well, or sign somewhere else if it’s not a good fit.

Other Contract Types

Keep in mind that these are by no means the only contracts that exist in music, these are simply the main recording artist contracts. Artists might also encounter music production agreements and contracts with production companies. If you are a songwriter, you can look into deals with music publishers and music licensing contracts. If you’re a producer, you can look into producer contracts with record labels. There is something for everyone!

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L’article Types of Artist Contracts in Music est apparu en premier sur Groover Blog.

The truth is that anything to do with music rights can be complex as there are usually several parties involved. But music licensing is a key part of the music industry and it’s worth taking the time to understand what it’s all about in order to protect your music career.

With that in mind, we’re going to delve into the world of music licensing, from understanding the different types of licenses to navigating the licensing procedure, in order to make sure you know everything you need to know about the process.

1. What is music licensing? 

Simply put, music licensing refers to the process whereby a music rights holder grants another party permission to use their music in exchange for compensation. It’s basically a temporary authorization that allows someone to use music that doesn’t belong to them and distribute it publicly.

It’s not a purchase, but more like a rental.  Imagine that you own a house or a flat and you decide to rent it out for a limited time and under certain conditions while retaining ownership of the house. Music licenses are similar, but we’re talking about intellectual property, not physical property. 

This means that playing music in public without proper authorization is considered theft and a license must be obtained every time a song is played in public for general consumption, which could mean in a TV program, a film, an advert, a trailer, a radio station, but also in restaurants, bars, shopping centers… as well as if someone wants to perform a song in public.

So let’s say you’re a consumer and not an artist and you want to use music in a project, you need to make sure you’ve got the necessary permissions from all the parties involved because if you don’t, you risk infringing copyright, which could then lead to potential legal problems and even fines. 

This is why music licensing is a key part of the music industry, as it ensures that artists, composers, and publishers are fairly compensated for their work. As an artist, this is an excellent thing because it can generate passive income and lead to greater creative freedom.

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2. Who are the key parties involved in music licensing?

The first actor is the artist, whether a songwriter or composer. So let’s say you’re an artist who has just written a song. Copyright protection for a song is automatically granted as long as the work is original, fixed in a tangible medium, and has human authorship. But you may want to register the copyright with the appropriate copyright office to get a bit more protection.

There are two main types of copyright: 

• Copyright in the composition itself, i.e. the lyrics and composition you created.
• Copyright on the sound recording. If you have signed with a major record company, you may have assigned them the rights to the master recording (the sound recording). If this is the case, the licensee (i.e. the person trying to obtain a license to use the music in their projects) will also need to obtain a license from them.

If you want, you can sell the rights to your songs, but as we saw earlier, that would no longer be covered by music licensing. So let’s suppose that you have retained all the rights to your tracks. 

What you can do in this case is go through a music publisher whose job it is to manage these rights. 

This may involve negotiating the terms of the music license, such as duration, location, and distribution channels, as well as collecting and distributing royalties. 

Then there are what are known as performing rights organizations, or PROs for short. The main ones you may have heard of are ASCAP and BMI. They are responsible for collecting royalties (one-off payments or ongoing fees) on behalf of rights holders, such as songwriters and music publishers, every time a song is played in a public space (restaurant, bar, TV show…). Business owners and broadcasting networks pay royalties to these organizations instead of paying them individually to the artists so PROs are therefore intermediaries that help artists to be fairly remunerated when their music is played in public. 

Music licensing companies are another key player. They also act as intermediaries, enabling license holders to access copyright-protected music without having to pay royalties. For example, they sell what is known as a blanket license, which allows someone to pay a one-off fee to use more than a million songs.

3. The various types of licenses

There are different types of music licenses that apply depending on the intended use of the music and anyone seeking a music license should ensure that they have the appropriate license for the end use.

• A synchronization license: this is one of the most widely used licenses and essentially covers the right to synchronize a copyrighted song with visual media, so it is necessary when music is used in conjunction with visual media, such as films, TV shows, adverts, and video games. So if someone wants to use one of your songs for the soundtrack of their short film, they have to pay for a synchronization license, and fees for these licenses vary greatly depending on the song used.

• A master license: this license authorizes the use of a recorded version of a specific song, as opposed to the composition itself. For this reason, it is often used in conjunction with a synchronization license. For example, if a small part of your song is played during a single scene in a film, both types of licenses will be required. 

• A public performance license: this type of license is needed when someone wants to perform the music publicly, for example at a live event or in a public space. This applies whether the performance is live or recorded. For example, any type of public venue, radio stations and even streaming services need performance licenses to play music without risking copyright infringement.

• A mechanical license: this is the license needed to reproduce and distribute a piece of music in physical formats and even in digital formats (such as downloads and streaming). So let’s say you want to release a covers album and you want to be able to sell CDs or even vinyl discs of the album, you’ll need to obtain a mechanical license. 

• A printing license: this license allows you to reproduce musical compositions in the form of sheet music. So if you go to your favorite music shop and there’s a book of sheet music for all Adele’s best songs, the publisher of that book first had to obtain a printing license.

A question that often comes up when someone is looking to license music is “Do I really need a license? “. This may be the case, for example, if they plan to use a very short extract of the song. There’s something called the fair use doctrine, and you can use it if someone tells you you’re infringing their license. But it’s more of a defense because it won’t absolve you of your responsibility. 

4. How much does it cost and are there other options available? 

As we briefly mentioned above, the cost of music licenses can vary enormously depending on a number of factors, and fees can range from a few hundred dollars for little-known songs to tens of thousands of dollars for well-known hits.

As well as the general popularity of the song, other factors that affect the cost include the intended use, the size of the audience, and the duration of the license (again, this is about renting the rights, not buying them).

As this can be quite expensive and not everyone can afford a music license, there are alternatives available that are worth mentioning.

• Royalty-free or copyright-free music: the truth is that most of the music out there is protected by copyright and you have to pay royalties to use it. But there is some music that can be used without paying royalties.

• Creative Commons music: some artists release their music under Creative Commons licenses, which allow you to use their work for free, as long as you respect the specific conditions of the license, such as attribution or use of the music for non-commercial purposes only.

• Stock music libraries: there are many online libraries where you can buy pre-licensed music. These libraries often offer a wide choice of genres and styles, and the quality of production has improved considerably in recent times.

• Commissioning original music: some people, particularly in the film industry, hire a composer or musician to create a custom score. Think of John Williams’ contribution to Star Wars or James Horner’s music for Titanic.

To conclude, music licensing is necessary because music, like a house or a flat, is someone’s property and cannot and should not be used for free. It is an important aspect of the music industry, as many songwriters, composers, session musicians, and producers make their living from music licensing.

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L’article Everything you need to know about music licensing est apparu en premier sur Groover Blog.