How To Get A Sync Agent

Real quick, just a reminder that Ari’s Take Academy enrollment is open, but just for another couple weeks. Join the other 6,000 students and finally break through what you’ve been struggling with in your music career. 

Learn more and enroll here (before October 25th). 

“Ari’s Take Academy has honestly changed my life. I’ve joined almost all of the courses. The courses are top notch. The community is incredible. I’ve started a record label. I’ve signed new artists. It’s incredible having the resource that is ATA and all the people in there to help wade through all these murky music business waters. It’s a goldmine.” - Dana Nielsen, Grammy-nominated, producer, songwriter, mixing engineer

Read this on aristake.com

So, if you've been following me for a while, you know I study the sync licensing realm (getting songs placed in film, tv, commercials, video games) quite a bit.

On the New Music Business podcast, I’ve interviewed quite a few sync experts like music supervisors, agents and artists. 

The sync licensing world is something I care deeply about. For one, I've seen it launch the careers of many, many artists (some of whom I've had the pleasure of touring with and opening for). After Lindsay Wolfington placed my song in One Tree Hill back in 2010, not only did my iTunes numbers skyrocket that night, but for years after that placement, people at every show came up to me saying they discovered me from that show.

And also because I know how much sync pays.

Typical upfront sync fees for indie artists:

Commercial Campaigns: $20K - $550K+
Films: $10K - $80K
Trailers: $10K - $80K
TV: $500 - $20K
Video Games: $2K - $10K
Theme Songs: $5K - $10K

Not to mention the backend performance royalties. Which can add up to be quite a lot.

Every TV show is different, of course, budgets vary and whatnot. But it's not uncommon for a $10K placement to an emerging artist for a Netflix show. More on this in a minute.

Sync licensing is one of those hidden corners of the music industry that not too many people talk about. Everyone is so obsessed with Spotify and TikTok and Instagram and ticket sales. When, literally one sync placement can pay your entire year's salary. That's a hell of a lot of streams!

Now, back in 2010 when I got my song on One Tree Hill, I did it by tweeting it to Lindsay.
This is not possible anymore. Artists are much more savvy and understand that music supervisors are the ones who hold the keys to the sync licensing kingdom. So they flood their inboxes with pleas to listen to their music.

Now, even if you get the perfect pitch down to the perfect music supervisor for the perfect show where your music would fit just perfectly, don't expect a listen, let alone a reply.

Why? Well, because for one, they don't know you. But, more so, they've been burned too many times by well-intentioned, but ignorant artists.

Artists just don't understand how sync rights work. They think because they released the song on Spotify that they have the rights to get it synced. They may not. Or they think because they co-wrote it with a friend, they have the rights. They may not. Or they think because they bought their beat (production) off of BeatStars and chopped it up to shit, they have the rights. They probably do not. Or they think, they think, they think, but they don't KNOW. And if the music supervisor can't be 10000% sure that the song they are placing in the episode won't get the network SUED, they won't place it. Because then they'll be out of a job!

So, music supervisors RARELY accept music from artists directly anymore.

So, how do you get your music in TV shows and movies?

Sync agents!

What are sync agents? Sync agents are the people who are the go between. Sometimes they work at sync licensing companies. Sometimes they work alone.

Sync agents have the relationships with all the music supervisors. And they have their trust. Music supervisors don't have to worry that sync agents will send them music that isn't cleared. Sync agents know how to make sure everything is completely cleared. Sync agents usually operate as "one stops." Meaning, they rep indie artists, clear all the rights to the music, and can offer it, completely cleared, to the music supervisor. So the music supervisor only has to make one stop. (Not, like 12 stops, calling around to the various publishers and record labels).

Music supervisors LOVE working with sync agents, because they have music that is great and cleared.

So, how do you get signed with one of these sync agents? And who are they?

Vo Williams is a hip hop artist who has had over 3,000 sync placements of just his own music. You may remember him from the New Music Business episode. The Houston Astros, the Milwaukee Bucks, and the Tampa Bay Lightning used Vo's music for their team's theme songs in the last few years - and ALL THREE went on to win their respective championships. Coincidence? Well, the Lakers are using him now!

I was so impressed with him on my podcast with his generosity at sharing his knowledge that I asked him to teach a course on sync licensing for Ari's Take Academy.

So that’s why we launched Advanced Sync Strategies for Film, TV, and Video Games.

Not only does he teach our students everything they need to know about the sync licensing world. He also, of course, teaches them how to get signed to agents.

But something we're doing in this course, that no other education institution is doing. We have showcases with top-tier sync agencies in the world. ATA students are able to submit their music (which they have honed and created based on Vo's incredible guidance) to sync agents that Ari's Take Academy has partnered with.

To date, we have gotten over 200 of our students signed to sync agencies.

Enrollment is open for Ari's Take Academy Advanced Sync Strategies for Film, TV and Video Games until October h. Enroll here.

~Ari

 

Here are what some of our students are saying:

"I landed my first official sync placement on Netflix’s Hype House, and I largely have ATA’s Advanced Sync Strategies course to thank in getting me this far. Enrolling in this course was a real investment in myself. Not only is Vo’s class structure informative and easy to follow, but the members of the online community are actively engaged, curious, and supportive. Getting my music on TV seemed like a far-off dream at first. Now I’m confident that I have the skills and support to accomplish landing more placements.." - Tim Stout

"This course is one of the best investments I’ve made in my career as an artist. Vo's hands-on guidance in addition to the vital information in the course landed me a deal with a major sync agency. This course really puts you in the shoes of a sync agent (or music library/supervisor) and will equip you with all the tools you need to land a deal or placement." - Janelle De La Rosa

"I went to Full Sail, and this course got me further ahead in one day than two years there. Vo pinpointed everything I needed to do that I wasn't doing. I included contracts and had all of the split sheets together with the music and BOOM! My first pitch landed in a library for sync with Universal Production Music UK just by following the course. Well worth it, for real." - Menice New Era

"Before I got into the course with Vo and Ari, I was pretty certain that I had my sync strategy down, because I was doing fairly well with the licensing and getting placements. When I enrolled in the course, I was genuinely surprised at how much I didn't know. Since enrolling in the course, I have landed several four-figure placements, made relationships and made new music to be published and repped by other agencies and libraries. The course has already paid for itself four times over! Whether or not you’re looking for sync, I recommend this course to anyone because it's an extremely lucrative way to make money in music." - Kolby Knickerbocker

“Thank you to the Ari's Take Academy team for helping us to land our first sync deal for Last Motion Picture! The course, community and ongoing long-term support alone is worth every penny, but the CATA submission also gave us the opportunity to get a direct introduction with a trusted agency who prioritizes developing their artists' careers. Joining ATA has been incredibly valuable and is hands down one of the best decisions I've made.” - Andy Doonan

"Vo is one of the best teachers I have ever had. Having access to his mind and support has been huge for me in finding a sync agent, which I was able to do. The world of sync has always been confusing to me, but knowing that I have a team of other musicians and Vo to help guide me in the process gives me the confidence and knowledge I need to have a successful sync career." - Lillian Frances

"ATA really helped us get a feel for what makes a song "sync-able," and through CATA we landed a sync deal with a couple of our songs. Having access to world-class sync agencies is an incredible opportunity. Also, Vo's experience and knowledge can not be overstated. If you have any specific questions about business/sync/deals/strategies, just jump on his monthly zoom call and ask away. We've gotten a lot out of it and are looking forward to even more!" - CAZA

Enroll in ATA's Advanced Sync Strategies here before October 25th.

🚫 Sony opts out of Gen AI firms using its music

Sony Music sends letters to 700 AI, music streaming companies declaring it's 'opting out' of AI training Sony Music Group (SMG) is in the process of sending out letters to 700 AI developers and music streaming services, declaring that it is “opting out” of having its content used in the training of AI. Also, any AI developer who wants to use SMG’s content will need explicit permission. The letter, obtained by MBW, also states that these companies may have already violated Sony Music’s copyrights. “Due to the nature of your operations and published information about your AI systems, we have reason to believe that you and/or your affiliates may already have made unauthorized uses (including TDM [text and data mining]) of SMG Content in relation to the training, development or commercialization of AI systems,” states the letter. The letter goes on to ask the companies in question “to undertake that neither you nor any of your affiliates have made any such unauthorized uses,” or to provide information on any SMG-owned content used “to train, develop or commercialize any of your AI systems..." Sony has not disclosed which 700 companies it is sending the letter to... (MBW Explains) MAY 16, 2024BY DANIEL TENCER MBW Explains is a series of analytical features in which we explore the context behind major music industry talking points – and suggest what might happen next. Only MBW+ subscribers have unlimited access to these articles. WHAT’S HAPPENED? Sony Music Group (SMG) is in the process of sending out letters to what MBW understands to be 700 AI developers and music streaming services, declaring that it is “opting out” of having its content used in the training of AI. Also, any AI developer who wants to use SMG’s content will need explicit permission. The letter, obtained by MBW, also states that these companies may have already violated Sony Music’s copyrights. “Due to the nature of your operations and published information about your AI systems, we have reason to believe that you and/or your affiliates may already have made unauthorized uses (including TDM [text and data mining]) of SMG Content in relation to the training, development or commercialization of AI systems,” states the letter. The letter goes on to ask the companies in question “to undertake that neither you nor any of your affiliates have made any such unauthorized uses,” or to provide information on any SMG-owned content used “to train, develop or commercialize any of your AI systems,” and a “description of the manner in which such SMG Content was accessed and/or reproduced and/or extracted by you or your affiliates or any third party contracted to do so on your behalf.” Sony has not disclosed which 700 companies it is sending the letter to. In a public declaration published on the websites of Sony Music Entertainment and Sony Music Publishing on Thursday (May 16), SMG said that it and its affiliated companies “expressly prohibit and opt out of any text or data mining, web scraping or similar reproductions” except “as specifically and explicitly authorized by either SME or SMP.” That includes “musical compositions, lyrics, audio recordings, audiovisual recordings, artwork, images, data, etc.” for any purpose including “training, developing or commercializing any Al system.” The letter makes it clear that AI developers who wish to train their technology on Sony’s IP will have to clear it with the company in advance. On top of AI developers, MBW understands that Sony’s letter is being sent to music streaming services in the hopes that they take action to prevent AI developers from scraping their libraries for Sony-owned content. The company is reportedly in talks with streaming platforms to have them update their terms of service to forbid the mining and scraping of their content. The letter indicates that the opt-out declaration and the request to AI developers to disclose the materials they used in training their AI is a reaction to the European Union’s recently-passed AI Act. Among other things, the EU AI Act requires developers of “general purpose AI” technology to keep track of and publicly disclose the materials they used in training their AI models. (Some legal experts have argued that it isn’t clear what does and doesn’t qualify as a “general purpose AI.”) The AI Act also includes a principle brought in from the EU’s 2019 Copyright Directive, which requires AI developers to get permission to use copyrighted materials in their AI technology, if those copyright holders have opted out. The idea of an “opt-out” clause for copyright holders has been opposed by some music industry groups, who argue that the principle should be one of “opt in” – the law should assume that copyrighted material can’t be used to train AI, unless the copyright owner grants permission. “Opt-out regimes fundamentally undermine copyright protections by shifting the burden to obtain a license away from users,” the US National Music Publishers Association (NMPA) said in a submission to the US Copyright Office in 2023. “An opt-out scheme that requires rights holders to opt out on an AI company-by-AI company or application-by-application basis would not be feasible, given the sheer volume of AI companies and applications; it is nearly a full-time job to keep up with developments in the AI marketplace… Copyright owners, particularly individual creators and small businesses could not possibly meet such a burden.” WHAT’S THE CONTEXT? Sony’s mass mail-out to AI developers highlights the company’s somewhat unique approach to tackling the issue of AI, one that at times stands in contrast to other music companies. For instance, Sony was the only one of the three major global recording companies not to participate in YouTube’s Dream Track experiment, a project to develop YouTube Shorts using AI technology. Nonetheless, the company is not shying away from AI altogether. Last summer, Sony Music Entertainment hired its first-ever Executive Vice President for Artificial Intelligence, Geoff Taylor. And last November, it unveiled a project from electronica act The Orb and David Gilmour of Pink Floyd, which involved the release of Metallic Spheres in Colour, an interactive remake of their 2010 album Metallic Spheres that allowed fans to remix the music on the album using AI tools. At a forum on artificial intelligence in the US Senate last fall, SME’s President of Global Digital Business and US Sales, Dennis Kooker, noted that SME had issued some 10,000 individual takedown notices to various platforms against AI-generated deepfakes “that SME artists had asked us to take down.” Kooker also opposed the view expressed by some AI developers, including Google, that using copyrighted material to train AI models should fall under the “fair use” exemption to copyright law. If that principle were to be accepted, it would mean that “certain companies are permitted to appropriate the entire value produced by the creative sector without permission, and to build huge businesses based on it without paying anything to the creators concerned,” Kooker said. The complete text of Sony Music Group’s public declaration is below. SONY MUSIC GROUP – DECLARATION OF AI TRAINING OPT OUT Sony Music Group (SMG) and its affiliates have invested in the development and promotion of songwriters and recording artists all over the world for more than a century. SMG is a passionate believer in the inherent and paramount value of human artistry. Additionally, SMG has been embracing the potential for responsibly produced Al to be used as a creative tool, revolutionizing the ways songwriters and recording artists create music. We support artists and songwriters taking the lead in embracing new technologies in support of their art. Evolutions in technology have frequently shifted the course of creative industries. Al will likely continue that long-standing trend. However, that innovation must ensure that songwriters’ and recording artists’ rights, including copyrights, are respected. For that reason, SMG’s affiliates, Sony Music Publishing (SMP) and Sony Music Entertainment (SME), on behalf of themselves and their wholly owned or controlled affiliates, are making this affirmative, public declaration confirming that, except as specifically and explicitly authorized by either SME or SMP, as the case may be, each of them expressly prohibits and opts out of any text or data mining, web scraping or similar reproductions, extractions or uses (“TDM”) of any SME and/or SMP content (including, without limitation, musical compositions, lyrics, audio recordings, audiovisual recordings, artwork, images, data, etc.) for any purposes, including in relation to training, developing or commercializing any Al system, and by any means, including by bots, scrapers or other automated processes, in each case to the full extent permitted by applicable law in all relevant jurisdictions. This declaration reaffirms and is without prejudice to all of SMP’s and/or SME’s prior rights reservations and their respective legal rights, all of which are expressly reserved. SME’s and SMP’s rights reservations apply to all existing and future SME and SMP content, including those creative works that may be identified through publicly available means or listed from time to time in databases such as those maintained by the International Federation of the Phonographic Industry (IFPI) and the [International Confederation of Music Publishers (ICMP).] Music Business Worldwide

Rah Rage

Ayanna "RAH RAGE" Moran, born in Brooklyn, New York, on April 4th, 2001 is a second generation immigrant from Dominican Republic. After moving to Broward County, Fl at 6, and being exposed to so many different cultures, regions, and groups, they became active in community organizing at a very young age. As RAH RAGE has learned and grown they have focused their efforts on the dismantling of white supremacist patriarchy, and loving, protecting, and supporting the Black Trans/Queer Community.

Art has always been a part of their life, as a child they entered art competitions in the Boys & Girls Club, winning quite a few; dancing ballet and joining various dancing teams throughout the schools they were enrolled in. Poetry has also been one of their favorite art forms all their life. RAH RAGE is a testament to their 'raw' rage at the exploitive nature of the system we all live in, it is also a "way to scream into the void" as RAH puts it, and lastly but definitely not least to honor the Eye of Ra. Music has always been an integral part of RAH's life. Rah Rage first opportunity was at 5-G Studio where she got to record and create music working along side with 5-G. Producer i-Supa Dave as feat artist and Glitch of NoMerge Entertainment that helped developed her first single that was produced by CamTon and distributed by Digital Alliance Platform. Making honest music came as naturally as painting, drawing, and poetry. Art has always been about expression for them, and they view music as one of the most engaging mediums for the delivery of hard truths, beautiful lies, sad realities, happy futures, and any other thing someone may need to say. RAH thanks you for taking the time to listen to what they have to say. Peace and Love <3 TopcaT@PeachTreeMusicGroup.Com

Evolved - iSupaDave &Y-Not

TopcaT@PeachTreeMusicGroup.Com

Future of Marketing

GLOBAL 3 traits digital leaders have in common Karalee Close, Hrishi Hrishikesh March 2022 Share Karalee Close is a senior partner and managing director at Boston Consulting Group (BCG), where she is also the global leader of its Technology Advantage practice. 

Hrishi Hrishikesh is a partner and director at BCG and a core member of Technology Advantage. Recently, they partnered with Google to study how global companies successfully approach digital transformation. They share their key findings here. A woman of color examines a bar graph, while a white man makes adjustments to a growth chart. Senior business leaders are keenly aware we’re in a new era of digital consumption, one that’s been rapidly accelerated by COVID-19. If the past few years have shown us anything, it’s that companies must be ready to move quickly to stay ahead of the pace of change. This has familiarized many marketing teams with a new catchphrase: digital transformation. A company’s ability to quickly scale digital solutions allows it to realize value from digital transformation. Since 2018, we’ve been partnering with Google to explore digital transformation, as it’s evolved from a relatively nascent concept to a business imperative. Most recently, we teamed up to better understand why some companies are able to generate significant value from digital solutions — and why so many others still lag behind. 

Our approach was to study the digital proficiency and maturity of 2,000 global companies, and we found that the value companies get from their digital solutions is inextricably linked to their ability to scale those solutions at speed. Achieving scale is what transforms digital pilot programs from interesting experiments into drivers of significant value. Companies that are able to do this faster than the rest of the market hold a considerable advantage. This became an important factor for our study; it differentiated the “digital leaders” — roughly 30% of companies generating significant value from digital — from the others. 

Our research showed that digital leaders achieve three times higher revenue growth and cost savings, and have an accelerated time-to-market twice as high as companies unable to gain value from digital.1 By taking a deeper look at the digital leaders, we were able to identify three key factors that allowed them to successfully scale their digital solutions. Here’s what you need to know. Three people icons in a huddle, a hex nut, and a slider control: 1. C-suite alignment. 2. Build capabilities. 3. Always-on mindset. 

 1. C-suite alignment Becoming a digital leader begins at the top. Companies are successful when digital transformation isn’t just the remit of one executive, but when the entire C-suite aligns on a common strategy and road map. Once they’ve set the North Star, CxOs must work together to galvanize the entire organization to execute the vision from the top down. According to our research, 72% of digital leaders say that consistent C-level collaboration is essential,2 and a full 82% claim to align across the executive suite on digital vision, investment, and other resources to drive the agenda forward together.3 A laptop screen shows a growth chart. 82% of digital leaders align across the executive suite on digital vision, investment, and other resources. Think with Google Source: BCG, Global, The Keys to Scaling Digital Value, a study commissioned by Google, March 2022. Share To do this successfully, leaders must embrace agile ways of working. They can’t work in silos if they plan to cascade strategies and targets down to local business units. Flexible planning and budgeting processes are critical, and the whole C-suite must be more involved in tech, data privacy, and analytics to follow a successful digital road map. 

 2. Build capabilities With C-suite alignment in place, digital leaders next invest in whatever helps their businesses gain value from digital. To effectively understand this question, companies need to take advantage of first-party data, from their customers and themselves. Gathering insights from data requires access to the same high-quality data throughout the organization. More than 90% of digital leaders have gained the ability to connect digital solutions to their tech stacks by using APIs and microservices. An emphasis on proper data governance procedures paves the way for a continuous supply of high-quality data that teams use appropriately and consistently. A cloud contains a microchip. 90% of digital leaders have gained the ability to connect digital solutions to their tech stacks by using APIs and microservices. Think with Google Source: BCG, Global, The Keys to Scaling Digital Value, a study commissioned by Google, March 2022. Share Digital leaders also focus on creating agile working environments, powered by productivity apps and AI analytics, which appeal to high-performing employees and aid in recruitment. Fostering a competent workforce — and a more inclusive and diverse workplace — also enables digital leaders to build more resilient business models for the long term. 

 3. Always-on mindset Rather than viewing digital transformation as a one-time project, digital leaders steer with an adaptive, always-on mindset to improve and scale pilots as the landscape changes and they prove their ROI. Just as technology, markets, and consumer behaviors constantly evolve, so too will your approach to digital transformation. A cultural reset is required to get comfortable with constant pivots. Digital leaders continually test and learn, invest in flexible planning and budgeting, and develop cross-functional teams, starting with the C-suite. It’s also clear from our research that digital leaders have embedded these behaviors into their company culture. As C-levels align to invest in a digital foundation, they become adept at using internal data as a decision-making tool for operational challenges. A settings wheel inside moving arrows. An adaptive, always-on mindset increases businesses’ ability to reimagine customer experiences. This adaptive, always-on mindset also increases businesses’ ability to reimagine customer experiences. By working cross-functionally, digital leaders are better able to determine which customer-centric opportunities to quickly scale and which unsuccessful or slow-moving initiatives to cut. It’s clear that digital transformation delivers outsize value to digital leaders. All companies can expect to realize similar value if they are willing to commit to change. By embracing necessary success factors — an aligned C-suite, capabilities-driven investment, and an always-on approach — any organization can become a digital leader. Further your business’s transformation by exploring the full BCG research report. Explore related content Digital

Transformation Global Karalee Close Karalee Close Managing Director and Senior Partner; Global Leader, Technology Advantage Boston Consulting Group Hrishi Hrishikesh Hrishi Hrishikesh Partner and Director Boston Consulting Group Antoniotopcat@gmail.com

Sony Music Publishing returns with a 'modern vision' – via a rebrand of Sony/ATV

Sony Music Publishing returns with a 'modern vision' – via a rebrand of Sony/ATV

The world's biggest music publishing company is no longer called Sony/ATV. It's now Sony Music Publishing. The re-brand of the US-headquartered pubco sees the Sony Music Publishing name return for the first time in over two decades, complete with a new logo. The move marks 25 years since Sony/ATV was first established in 1995 through a joint venture between Sony and Michael Jackson. That merger brought together the original Sony Music Publishing with Jackson’s ATV Music, which the late artist acquired in an astonishingly smart buy for just $47.5m in 1985. A process of modern publishing unification at Sony began in 2016, when the company acquired the Michael Jackson estate’s 50% share of Sony/ATV for $750m, making it a wholly owned Sony company. In 2018, Sony further consolidated its position at the largest music publisher – and simplified its structure – via the purchase of full ownership of EMI Music Publishing via two deals jointly worth more than $2.5bn. This recent process of unification has been reflected in the new re-brand to Sony Music Publishing, a move driven by the publishing company's Chairman & CEO, Jon Platt... (MBW)

Big-N-Mage Publishing "BNMP"

FL Famlife "$1,000 Bands"

Email: flfamlife@gmail.com https://dap.direct/d2/share/eyJzIjoxMTM2NDB9 The ATL ("FL") are an American Southern Hip Hop duo from Atlanta GA. Comprising members Stand Out and Alveo Da Great (ADG).

FL FAMLIFE "U & I"

https://dap.direct/d2/share/eyJzIjoxMTM2NDB9 Email: flfamlife@gmail.com

The ATL ("FL") are an American Southern Hip Hop duo from Atlanta GA. Comprising members Stand Out and Alveo Da Great (ADG).

STANDOUT-------- ALVEO--------ROD C

ROD C----------STANDOUT---------- ALVEO

Jarius Lovett a/k/a "Standout" | F L FAMLIFE

Email: flfamlife@gmail.com | https://dap.direct/d2/share/eyJzIjoxMTM2NDB9

 

Jarius Lovett, better known by his stage name "Standout", derived from his mannerisms and unique style of dress, is an American hip hop recording artist and native of Atlanta Georgia's infamous "Zone 3." Although born into a city known for the "glitz and glamour" and the "good life," Standout's upbringings were the complete opposite of this over the top perception, and resemble nothing short of a hard knock life. Standout encountered several rough patches during his childhood from witnessing his mother's drug addiction and victimization to domestic violence, to battling the struggle of having an estranged father. 

However, Standout's roughest encounter was the passing of his mother a few short years after giving birth to his younger sibling, which marked the beginning of a downward spiral. After refusing to cope with the loss of his mother, Standout dropped out of school, and turned to alcohol as a mechanism to fill the void, and to shield feelings of pain and resentment. Knowing that he couldn't continue to live his life in sadness, pain, and loneliness, Standout decided to take a turn toward greatness and utilize music as an outlet to tell his story, and as an avenue toward rehabilitation.

Standout's dreams and passion for music began at the age of 17 when his natural talent as a rapper became more apparent. Standout's ability to creatively freestyle, and effortlessly compose unique and catchy hooks and lyrics is something that he credits greatly to his family, and musical influences including "King of the South" rap legend T.I., and Billboard Music Award Nominee, Future. Standout recently had the opportunity to work alongside Future on his original track, "Money in DA Air."

Music is something that has always been and will remain a passion of Standout's. Although intrigued by the fame and money, Standout is a firm believer that his passion and love for music will always overpower anything that life may throw his way. Standout is truly an artist that stands out!

         

https://dap.direct/d2/share/eyJzIjoxMTM2NDB9

Email: flfamlife@gmail.com | https://dap.direct/d2/share/eyJzIjoxMTM2NDB9

TC   618-799-3583

 
 

F L (Fam Life) are an American Southern Hip Hop duo from Atlanta GA.

Comprising members Stand Out and Alveo Da Great (ADG).



 

 

 

Alveo Deshawn Seabrooks | F L FAMLIFE

Email: flfamlife@gmail.com | https://dap.direct/d2/share/eyJzIjoxMTM2NDB9

 

Alveo Deshawn Seabrooks, is an American hip hop recording artist and native of eastside Atlanta’s, Decatur “Where it’s Greater”. Alveo’s upbringings mirrored a distant dream to many youth of today’s society: Two parent household, adequate housing, and steady income. From the outside looking in, it appeared Alveo had it all, and the likelihood of becoming another statistic by either disenfranchisement or death was practically impossible.

However, there was one thing that was missing in Alveo's life which ultimately led him down a coarse path…time. Alveo’s were parents ideal, however, demanding work schedules resulted in large periods of time away from the household, which forced Alveo to conduct his life in a manner in which he pleased. Alveo made the decision to pursue the “street life” in an area infamous for violence and gang culture, and consequently experienced life’s most trying and hardest situations associated with a “street” lifestyle.

Alveo was faced with a plethora of unimaginable learning curves, trials, and tribulations when he decided to travel life’s hardest roads. Alveo soon decided it was time to make a significant and positive change in life, and shifted his focus toward his inner talent and love, music. Alveo began nurturing and molding his craft at the age of 13, when his exceptional writing abilities and wordplay became more transparent. Alveo has made appearances at a variety of showcases, and continues to earn support and positive feedback from his peers. Alveo far from the typical “swag rapper” flooding today’s industry, and  prefers to top the rap game with his unequalled wordplay and crucial abilities. Alveo credits his growth as an artist some of the industry's most talented and greatest musical influences including, but not limited to: Lil Wayne, Andre 3000, Jeezy,  2 Chainz, Gucci Mane, 2pac, Eazy E, and Ice Cube.

Although Alveo chose to take the road less traveled, it has made all of the difference in his life. Alveo is now focused on his daughter, providing a more secure and desired life for his family, and not falling victim to the “street life.”

https://dap.direct/d2/share/eyJzIjoxMTM2NDB9

Email: info@famlife.us

TC 618-799-3583

F L (Fam Life) are an American Southern Hip Hop duo from Atlanta GA.

Comprising members Stand Out and Alveo Da Great (ADG).

 

 

H A P P Y H O L I D A Y S ! ! !

  H A P P Y   H O L I D A Y S ! ! !:   

Christmas Wishes

I am dreaming of a snowy white Christmas, with every Christmas card I write, May your days be merry, dazzling and May all your Christmas be bright.

M E R R Y   C H R I S T M A S 

https://plus.google.com/111878589245354695381/posts/DH9g6uaRDGK Christmas Wishes I am dreaming of a snowy white Christmas, with ever... TopcaT@PeachTreeMusicGroup.Com
https://plus.google.com/111878589245354695381/posts/DH9g6uaRDGK

Music - Split Sheet Percentages

Music Producer Collaborations and Songwriting: Split Sheet Percentages

As the music world continues to evolve, the distinctions between music genres are beginning to blur. Producers are collaborating with artists in different music genres to appeal to a more diverse audience so that the potential for success increases. Unless you are a super producer like Pharrell or Timberland producing for Justin Timberlake, this means that producer deals for these collaborations will follow the customary terms of the artist’s genre, particularly when it comes to determining a producer’s copyright ownership share of the musical composition, or the song. This determination could be an unpleasant surprise if you are an Urban producer who is crossing over to Rock, Country, or any other music genre so it is important to know beforehand what to expect.
The following are the important issues for producers to consider regarding copyright ownership in a song and my observations over the years of genre specific industry standards so that you can make an informed decision when presented with a collaboration opportunity in another music genre.
What Exactly Is Publishing?
First of all, let’s start with a brief description of how copyright ownership relates to the frequently-used term, “publishing.” This topic alone could be an entire article by itself because it is routinely misunderstood. Publishing is a non-legal term that is used to refer to a collaborator’s copyright ownership in a song. The copyright in a song actually consists of two halves, a writer’s share and a publisher’s share, but some people casually use the word to represent both shares. A copyright owner is free to do whatever he or she wants with their portion of the song, such as assign it to a publisher independently of the other copyright owners. The purpose is to earn royalties and other income from album sales, radio play, and licensing, which is why determining the division of a song is so important. The bottom line is that if you do not understand the details of publishing make sure you hire someone who does or you could be generating only half the income that you otherwise are entitled.
What Are Split Sheets And Why Are They Important? (Song Split Sheet Percentages)
A “split sheet” is an agreement that identifies each contributor to a song and sets forth each person’s copyright ownership percentage. The split sheet should include other pertinent information as well, such as the contributors’ performing rights organization (ASCAP, BMI, SESAC), the specific contribution of each person (i.e., beats, melody, core lyrics, hook), and the start and completion dates of the specific contribution. Also, it should indicate whether different versions of the song were created. These details may not seem important in the early stages of creating a song, but a split sheet serves as each contributor’s evidence of copyright ownership and will assure a third party, such as a potential publisher, of your undisputed interest. For clarity purposes, do not mistake a split sheet with registering your copyright interest with the U.S. Copyright Office. A split sheet and a federal copyright registration together will give you solid proof of your copyright interest in a song.
The biggest mistake that collaborating songwriters and producers make is failing to complete a split sheet. This is a problem because if the song becomes successful, which is the intent of all collaborations, then there is a risk that one of the songwriters, or more likely his or her publisher, will claim that he or she should own a larger percentage of the song than originally assumed. Also, under U.S. Copyright Law, if no agreement exists between the contributors, the default assumption is that all of the contributors jointly own an undivided equal share of a song. This division may be acceptable in situations where the actual work was equal among the contributors, but the default would also apply where one person makes only a minimum contribution, such as a sound engineer that never signed a work-for-hire agreement. The easy way to alleviate this potential problem is to have the song contributors fill out a split sheet prior to getting too far into the creative process. The excuse I frequently hear is that nobody wanted to “rock the boat” during the creative session, which is a valid concern, but my recommendation is to have the collaborators meet at a time and place outside a creative session to discuss business and sign a split sheet.
A split sheet is also important because your administrator or accountant can use it to collect your royalties from record companies and your performing rights organization. This is important because a distributing record company will withhold all mechanical royalties generated by singles and albums that embody a song where the ownership percentages are not correct. Likewise, the performing rights societies will withhold all performance royalties until any split disputes are resolved.
How Are Splits Typically Determined?
In concept, splits should be allocated according to a collaborator’s contribution to a song. Unfortunately, this is not a bright line concept because a contributor may believe that his or her contribution is more valuable to the final result than the other contributors may view it to be. For example, if a song is divided up based on quantifiable measures, such as the lines of lyrics or music written, then a contributor who only wrote the hook to a song would only be entitled to about ten percent of the overall song. The contributor who wrote the hook might not believe this method to be fair if the hook is frequently looped in the song and clearly raises the quality of the entire song, which is typical in rap. There are countless examples like this so the bottom line is that all of the contributors need to come to an agreement and sign a split sheet.
What Split Should I Receive As The Producer Of A Song?
The true answer to this question is the same answer that applies to all terms in music contracts, “it depends on the situation,” but since that typical attorney answer is probably going to result in a blank stare on your face and make you question why you are even reading this article, let me offer some insight according to my experience. Each genre of music has its own “standards” when it comes to dividing up copyright ownership to the contributors of a song. In Urban music (Hip-Hop/Rhythm & Blues), a producer is typically going to receive a minimum of fifty percent (50%) of the song, less any portion allocated to existing samples, because the music significantly contributes to the success of a song. To warrant such a large share an Urban producer is expected to not only deliver a finished master, as opposed to just beats, but to also manage the project and sometimes mentor the artist. In the Rock and Pop genres a producer typically receives an equal share of all of the contributors based on the notion that the music and lyrics are equally important to the end result. Rock and Pop producers are also expected to help make the song successful by using their connections with industry professionals. In Country, a producer typically does not share in copyright ownership unless the producer also contributes lyrics. I have done deals where a producer receives a fee that is intended to compensate the producer for his or her efforts and buy out any rights, but I have noticed that Nashville publishers are not interested in dealing with producer contributors. Lastly, in the jazz and classical genres, producers rarely receive any copyright ownership in a song. As you can see, if you are an urban producer you may not be interested in collaborating with certain other genres unless there is an ancillary benefit.
Are Industry “Standard” Splits Set In Stone?
There are no absolute deal terms in the music industry but unless you have some kind of leverage and a good attorney, you will probably not be able to receive deal terms more favorable than the industry standards set forth above.
The term “leverage” is basically a strategic or tactical advantage over a contracting party, or you have something that the other person wants so they want to be down with you. This could be a connection that you have with a company or person, an attractive upcoming project that could be used to cross-market, or something else that is desirable. If you have leverage then the most effective way to use it is to have an experienced professional, such as a manager or attorney, maximize your deal terms. If strategically done, you will not offend the other party and end up with a great deal.
What if a Producer is part of a group or band?
With respect to groups that include a producer member, it is important to enter into a group agreement so that there are no misunderstandings. I have worked with groups that decide to divide all copyright ownerships equally regardless of the group member’s contribution and I have worked with groups that assign the copyright ownership to a jointly owned publishing company and determine on a song-by-song basis how each contributor will share in the income. The agreement is whatever works for the group but what you do not want is to create songs with no agreement in place and allow the opportunity for a dispute to arise after the fact. Despite the fact that, legally, a co-owner of a copyright can grant certain non-exclusive rights, a company or person in the music industry is not likely to offer an opportunity for a song that is in dispute.

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