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About: Digital Alliance Platform


Monday, October 7, 2024
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
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/
Enroll in ATA's Advanced Sync Strategies here before October 25th.

Thursday, May 16, 2024
🚫 Sony opts out of Gen AI firms using its music

Tuesday, July 26, 2022
Rah Rage

Monday, June 13, 2022
Evolved - iSupaDave &Y-Not

Friday, March 25, 2022
Future of Marketing

Wednesday, February 10, 2021
Sony Music Publishing returns with a 'modern vision' – via a rebrand of Sony/ATV

Tuesday, March 10, 2020
Big-N-Mage Publishing "BNMP"

Sunday, December 10, 2017
FL Famlife "$1,000 Bands"

FL FAMLIFE "U & I"

Tuesday, June 6, 2017
Jarius Lovett a/k/a "Standout" | F L FAMLIFE
Email: flfamlife@gmail.com | https://dap.direct/d2/share/eyJzIjoxMTM2NDB9

Alveo Deshawn Seabrooks | F L FAMLIFE

Monday, December 23, 2013
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

Wednesday, December 11, 2013
Music - Split Sheet Percentages
Music Producer Collaborations and Songwriting: Split Sheet Percentages
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.
