Unblocking the Sync: A Band's Guide to Brands, and a Brand's Guide to Bands by Wiater Carnihan Kier

Author:Wiater Carnihan, Kier [Wiater Carnihan, Kier]
Language: eng
Format: epub
ISBN: 9781909750135
Publisher: MusicTank Publishing, University of Westminster
Published: 2020-06-14T16:00:00+00:00

Key Points

– FOCUS on independent labels – they tend to be much easier to work and negotiate with in comparison to the majors.

– AVOID formulaic music where possible (another good reason to explore the more creative and adventurous world of independent music).

– DON’T assume that the major labels have a monopoly on pop music – some of the biggest acts of recent times have been signed to indies.

INTERVIEW 6: Emma Lomas – Senior Licensing Manager, Beggars Group

“There are four of us in this department and we divide up the work: one of us looks after film and TV; one of us deals with adverts; one of us deals with compilations; and I do online and corporate – basically anything that falls outside of film, TV and adverts.

A few years ago, online really meant people emailing in wanting to use The xx on their website or their YouTube homemade films. In the past two years it has got bigger. There are now brands that won’t use traditional media and just use online. There has definitely been a shift. The big brands will obviously still use TV as the key way of reaching people; but with online use you can be a bit more creative.

As an example of an online-only campaign, Prada contacted us and wanted Perfume Genius, who is signed to Matador, to re-record a version of Elvis’ ‘Can’t Help Falling In Love’. He went into the studio and was given the guidelines of what they were looking for but was mainly given a lot of freedom as they liked him as an artist and liked what he had done on his records. So he recorded a version of that and it was about 90 seconds for the online spot. But he also recorded it as a full-length song so you can go to Spotify and listen to it. That’s an example of online where you can be a little more creative.

With that one, we own the master and licensed it for the ad. You see that more within American film production companies where, when they commission things, they try to keep ownership. They are our artists and we have the exclusive on their recording services.

Most of the online deals are done for the world and while the fees aren’t as much as you would get for TV, they are getting there. Mostly we will license music for one year if it’s online. We try not to do adverts that are longer than a year because that can tie a track up to a brand. If you gave an ad a track for five or 10 years online, it might put off other brands being interested in the track.

Are artists more open to this sort of thing? Absolutely. I don’t there’s any kind of stigma – and that idea of selling out is gone. We have artists that don’t want to do adverts, which is absolutely fine. But generally people are into it if the brand is right and the creative works.

Download

Copyright Disclaimer:
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.