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The Great Escape 2015

The Great Escape 2015

This year’s The Great Escape convention features a panel discussion on How Sync Deal Works. Part of the Better Brand Partnerships strand, Resilient Music will be represented on the panel which will explore all aspects of sync deals. Find out more about the festival and TGE Convention in this post from Richard.

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Sync Music A to Z: J is for Jointly Owned Copyright

Sync Music A to Z: J is for Jointly Owned Copyright

It’s not uncommon for music tracks to have jointly owned copyright between two or more parties. Brands and agencies must be aware that to license a track that has more than one music publisher with rights to the song, you’ll need to get everyone onboard with your deal. In this post I share how these situations arise, and who you need to negotiate with to get your sync licence.

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Lost In Translation

Lost In Translation

Do music rights owners and brand marketers speak the same language? Not always. Often it is my job to translate what one party actually means to the other. For successful negotiations it’s vital to understand each one another and so sometimes an interpreter is needed! Here I share some common terminology that gets lost in translation and some tips on how to be clear in your the music procurement process.

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The Next Steps For The UK Music Industry: WMF

The Next Steps For The UK Music Industry: WMF

Will you be at the Westminster Media Forum’s event – The Next Steps For The UK Music Industry next month (April 16)? Richard Kirstein will be speaking about brand partnerships and the evolving relationship between music and brands. Keynote addresses come from Antony Bebawi (Sony/ATV Music Publishing) and Ged Doherty (British Recorded Music Industry). Looks like a very interesting forum, for more details and to book your ticket read this post:

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Sync Music A to Z: I is for Indemnity

Sync Music A to Z: I is for Indemnity

When licensing music you’ll want the licensor to include an indemnity, but be warned it will be capped at the same level as the sync licence fee. Whether you think this acceptable or not, this is one of the factors you need to know about when licensing tracks for brands.

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Now The Lines Are Truly Blurred

Now The Lines Are Truly Blurred

A California jury has awarded Marvin Gaye’s children US$7.4m (approx. £5m) in damages for the similarity between Robin Thicke’s Blurred Lines and Marvin Gaye’s Got To Give It Up. What does this mean for brands and for anyone looking to emulate the musical feel or style of an artist or genre?

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