“Richard has been a pioneer in the development of new ways to procure music that gives brands more options and an ability to gain access to great music at reasonable cost. If you regularly develop video and are often looking for music, this book will help you better navigate this complex world.”
Dominic Chambers
Global Head of Digital Marketing
Jaguar Land Rover
“This book shines a light on the dark art of music licensing and is essential reading for client-side Marketing and Procurement music buyers who want to know the right questions to ask.”
Steve Lightfoot
Senior Manager – Global Marketing Procurement
World Federation of Advertisers
“Music rights can be impenetrably complex for marketers. This book really simplifies how rights work and how to license them with better control of cost and risk.”
Paul Hibbs
Head of Brand and Advertising
Nationwide Building Society
“The right music can be a blessing or a curse for brand builders. Music Rights Without Fights tips the scales for marketers with easy-to-follow steps to engage the music industry for mutual benefit.”
Billy Burgess
Senior Global Communications Manager
Absolut – The Absolut Company – Pernod Ricard
Why are brands confused?
How does the book help?
Who is the book for?
Why should you buy it?
“There is little doubt that the right choice of music can transform a piece of content or TV ad from being good to being truly memorable. Music can have incredible emotional power and can really build brand equity power and appeal. The music business has been through a traumatic period of declining revenues as recorded music revenues evaporate, and so the income from music syncs has become an ever greater part of their remaining profitability. It is therefore essential that you are well informed and have access to the right professional advice to obtain the right music at the right price, otherwise brands will continue to pay over the odds for music rights.
Richard has been a pioneer in the development of new ways to procure music that gives brands more options and an ability to gain access to great music at reasonable cost. If you regularly develop video and are often looking for music this book will help you better navigate this complex world.”
Dominic Chambers
Global Head of Digital Marketing
Jaguar Land Rover
| Foreword | ix |
|---|---|
| Introduction | 1 |
| Section One: How is the music industry structured? | 5 |
| Introduction | 7 |
| Chapter 1 The difference between songs and recordings | 11 |
| Chapter 2 The difference between music publishers and record labels | 25 |
| Chapter 3 The role of performer’s unions | 35 |
| Chapter 4 The role of artist managers and booking agents | 39 |
| Section two: Which rights do brands need to license? | 47 |
| Chapter 5 Know your rights | 49 |
| Section Three: How Much? Cost drivers and costs management | 57 |
| Chapter 6 Approval chains | 59 |
| Chapter 7 Fame and stature | 69 |
| Chapter 8 Exclusivity | 75 |
| Chapter 9 Usage | 81 |
| Chapter 10 Most favoured nations | 93 |
| Chapter 11 Geo locking | 103 |
| Chapter 12 Time and competition | 109 |
| Chapter 13 Licence options | 115 |
| Section four: What happens when things go wrong? The risks and how to mitigate them |
119 |
| Chapter 14 Unauthorised use | 121 |
| Chapter 15 Sound-a-likes / Passing off | 127 |
| Chapter 16 Who’s going to know? | 137 |
| Chapter 17 What’s the worst that can happen? | 141 |
| Chapter 18 Reputational damage | 149 |
| Chapter 19 Aligning media schedules with licences | 153 |
| Section five: What’s the role of creative agencies? | 157 |
| Chapter 20 “Just in time” management | 159 |
| Chapter 21 Single track recommendation | 163 |
| Chapter 22 Nowhere to run | 167 |
| Chapter 23 Where’s the return on investment? | 171 |
| Chapter 24 Commission-based brokering. Conflict of interest? | 173 |
| Chapter 25 Apparently independent? The hidden owned and affiliated music companies | 177 |
| Section six: Five practical steps to implement before planning your next campaign | 181 |
| Chapter 26 Starting earlier | 183 |
| Chapter 27 Media schedules | 185 |
| Chapter 28 Competitive tendering | 187 |
| Chapter 29 Future proofing | 191 |
| Chapter 30 Compliance | 195 |
| Your next steps to licensing success | 197 |
| Glossary of terms | 199 |
| Acknowledgements | 211 |
| The author | 213 |
Richard Kirstein is the UK’s leading independent expert on music rights buying for brands.
During a music licensing career spanning over 20 years, he has brokered several thousand deals, acting for both music rights buyers and sellers.
Since 2010, Richard has been Founding Partner of Resilient Music LLP, a successful specialist consultancy whose clients include some of the world’s largest consumer brands in the fashion, automotive, financial services and alcoholic beverages sectors.
Learn more at www.resilientmusic.com
“This is a comprehensive guide to a much-misunderstood but very important topic. If you have anything to do with music rights, either as a client, agency or rights owner, this should be on your bookshelf for reference. Highly recommend.”
“If there’s even the vaguest possibility that you might be using music to accompany advertising in the future, invest in this book.”
“Essential reading for anyone involved in marketing services procurement. It is hard to see how anyone could write a better book on the subject – clear, informative, full of knowledge and experience, and actuality an enjoyable read too!”
“Opens the lid on a very important area of Advertising procurement”
“My copy is already becoming well thumbed and is never far from my desk. Highly recommend. Help for Ad Agencies, help for all who want to use a song in their business.”
“This book explains basic copyright and how important it is to understand that there’s TWO main copyrights you need to ‘buy’ when you want to use a song. Written in simple language, important for people in the Ad business !!!”
“This is essential reading for all brand marketers and agency staff involved in music licensing. A key message is that foresight and planning of music is not far behind finding the right creative treatment in importance. Heeding this message will save brands and their agencies time, money and even from reputational damage.”
“Richard does a great job in demystifying the terminology involved and gives practical tips on how to buy more effectively and secure better deals whilst building long term trusting relationships”
“For anyone working in the marketing industry this book offers invaluable advice. All production departments should be armed with this!”
“Probably the most important book specific to the Music Sync world in our current era. A clear, concise and charming compendium of rules to ensure your music is safe. All music composers should have this on their shelf.”
“This book is a must if you are involved in the music-marketing business. An exciting addition for those who want to learn about the intricacies of music licensing.”
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© 2016 Richard Kirstein
