Why Artists Should Own Their Recorded Masters
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- Опубліковано 5 жов 2024
- From major labels to investment groups, everyone wants to buy ownership of recorded master rights. In this video, we explain what’s going on, and why artists should try and keep hold of the rights to their masters.
The future income potential for rights ownership has massively increased in recent years. Any artist releasing music or signing label agreements should understand why these values have gone up, and what their music could be worth.
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🌟 great video!
This channel is just so great
Thank you so much. We really appreciate your kind comment. Best wishes
Cheers. Good discussion and summary.
So helpful! I'm hanging on to my masters!❤
Thanks for commenting again. Glad the videos are useful to you. All the best
🔥🔥🔥
Great channel and content. Question: What exactly did Katy Perry sell recently? Master rights or publishing? If master rights - how did she get some of the rights to her first albums?
Thanks for your comment. From what I read, it seems Katy Perry sold a combination of master and publishing rights across different parts of her back catalogue. This is probably due to having a variety of different recording and publishing deals during her career. Sorry, but I don't know more about her circumstances as to how or what she has accumulated over the years. But having just made over $200 million I'm guessing she's made some good decisions in the past!
Hi - your videos are incredibly educational - thank you for putting your knowledge on UA-cam. I'd like to ask for some advice.
I wrote, composed, beat, lyrics, melody, created the "vision" and blueprint /demo and am asking a producer to work on the track, put the blueprint into an actual piece of art meaning, substitute sounds already on the beat, create a more eccentric percussive beat, and id rerecord vocals etc. I have been creatively involved at this whole part, essentially sitting 8+ hours per session and stating what kind of sounds fit best, and we come up with something. However, again, I came to the producer with a blueprint demo/vision (start to end). What reasonable splits should I give the producer? They are asking for 50% publishing among "other standard rights". I want to own 100% of my masters, and I don't want to screw myself over now - I want to make all the decisions surrounding my music now and in the future. How should I split this with the producer? I am also paying a fixed price for 5 songs for his work on this, so just want to make sure things are fair and reasonable. Thank you!
There are so many variables that could affect what could make this a good or bad deal, and we really can't provide advice on specific legal decisions. Your producer may be worth 50% or maybe not. Generally, though all of this would be agreed before work starts. And, although it is not usual for a producer to take a share of publishing it is more common in some genres, such as hip hop. Sorry, I can't provide a clearer answer. Good luck with your music!
What about mixing and mastering them using AI? If I'm an independent songwriter, composer and the singer so I have the composition copyright and the recording copyright. What about the copyrights of mastering and mixing using AI in that case?
Hellos
i do learn a lot from your videos but i'm trying to figure from which perspective you speaking from because i don't think you can say as somebody who's not a musician i can't provide anything meaningful as a label owner,i say this because am not talented in terms singing or rapping but i have experience to get a project to a very great stage because it's about experience really,we can come here and learn production,engineering but if you haven't really had to a chance to do it and made mistakes you don't really know.
So for you to say i can't own the master when i know exactly what equipment is needed,perhaps i have,i made sure the project was proper compared to somebody who doesn't know much who's only just starting,let's be fair here,not just for the artist because there's contributions from a lot of people
Thanks for your comment, I'm glad you learn a lot from our videos. I'm not really sure I understand the points you are making here though. You seem to be disagreeing and quoting me on things I haven't said. I don't think there is anywhere in this video where I said that you "can't provide anything meaningful as a label owner". You've also stated "So for you to say i can't own the master when i know exactly what equipment is needed", which I don't think I said either. I'm also unsure what you mean here, or why knowledge of what equipment is needed should be related to the ownership of copyright. Sorry, I'm a bit confused by what you are trying to express. We have though done a whole video on record labels, recording contracts and the relationship between labels and artists which I think gives a good idea of our perspective and a reasonable balance of the mutual benefit to artists and labels when working together. Check it out here: ua-cam.com/video/AIXGFPsbBAM/v-deo.html I'd be interested to know if that helps clarify things for you, and I'd be very happy to help answer any other questions you have. All the best.
can split sheets apply to masters?
Usually, split sheets apply to compositions/songwriting percentages only. However, sometimes (but not often) split sheets can apply to the masters. Anything you sign or agree should specify what you are splitting. Hope that helps.