I wrote a song with a co-author, but I produced the song myself so that I own the master. So my question is this: if I have co-authors, but I own the master, I still need the permission (a written agreement) of the co-authors or can I enter into a synchronization agreement without their agreement/collaboration (as long as I pay my co-author their 50% share of the songwriter`s fee if I pass them?) If you use an original recording belonging to someone else (for example. B a real recording of the Beatles with John Lennon, Paul McCartney, Ringo Starr and George Harrison), you need a synchronization license to pay the composer the right to use the composition (song) and also a master license to pay the artists for the right to use the recording. This also applies if you only feel a very small part of the copyrighted audio recording. Click here on Tap to learn more about licensing existing audio recordings. Lance mentions that they have $1,500 per page. This means they pay $1,500 for the sync fee and $1,500 for the master usage fee. Copyright protects “musical works” such as songs and accompanying words, as well as orchestral works, librettos and other musical compositions. Copyright also protects “sound recordings”; i.e. recordings of musical compositions. Independent artists/composers, who record their own songs, generally own the copyright of their songs and masters. But as soon as this artist/songwriter enters into a musical publishing agreement, she usually transfers the copyright of her songs to the publishing house, and the publishing house pays her royalties from the commercial exploitation of the songs, including the “Syncs”.
When the same artist/songwriter enters into a standard recording contract, each record in which it occurs during the term of the contract is usually a “lender” for the record company. In this case (as explained below), the record company owns the copyright for the recordings and pays the artist royalties for both record sales and master licenses. As labels generally own mesh recording, they control all licensing agreements. For example, if a company approaches a major recording star for a song and is willing to sell it for $10,000, but the label will only accept $20,000, it has no voice in the negotiations. If the price of the label is outside the potential buyer`s budget, they can leave and it loses that income.