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Thanks for watching, Luke! Yeah it has become a huge problem in sync, and honestly in the overall music industry as well. There's been a few lawsuits because of royalty free loops, I think a huge one was with a Justin Beiber song if I recall correctly, they used the same royalty free loop as someone else and sued them or something as if they stole their song.
Hey Mark, not sure if you know or not, hitting that link no longer sends you that folder you speak of in this video. Gives you links to other stuff but not the folder with the syncassets with the contracts, work for hire stuff. I sent you an email about this as well. Thanks for the great info.
I wasn’t aware of this and will definitely look into it. I’m sure it’s nothing to worry about, but thank you very much for commenting and letting me know!
Regarding "All writers listed below can absolutely and immediately authorize 100% clearance and represent the record non-exclusively as “ONE STOP”." Doesnt "record" refer to only the master? would it be better if I put "record and song"
Great question! Thanks for asking. Yes, that is correct. The record refers to the specific master. However within this split sheet we also have the percentages all laid out in terms of writers share, publishing, and the master. Maybe it would be better to put "record and song" but I don't see it as necessary tbh. Again - I'm not a lawyer, so take it with a grain of salt. Contracts/agreements like this are very common though. This split sheet is clearly showing we all own the song, what our percentages are, and that we all have the right to pitch it and sign any licenses one-stop. Does that answer your question?
@@MarkHimley Thank you for the info! I guess since in most cases were only trying to get a recording licensed it shouldnt be a problem however if a licensee wants a part of the publishing or writers share would that require me to have "song" there?
@@wan Well that would probably be a different scenario altogether. Personally, I would never give part of the writers share to a licensee. Not sure why you'd want to do that. The only time I'd ever even consider giving away writers share to someone who didn't actually help write the music would be if it was a direct deal with an in-house catalog of some network or something where it was basically guaranteed placements. In that case - the financial ROI makes sense. As for publishing, if I'm giving up publishing that means I'm signing a deal with a publisher, or a music library. They will have their own contracts and agreements that they use which all writers will have to sign.
@@wan that’s wise of you to learn and educate yourself! There’s tons of great sources out there depending on what you’re trying to learn. More than happy to help or at least point you in the right direction. Also, if you use Discord, a couple friends of mine and I started a discord server for sync. I haven’t promoted it here yet, but probably will soon. Feel free to join if you’d like :) discord.gg/4xf7DvcX
Great question! I wouldn't think of it in terms of length. I would think of it in terms of "how recognizable is this?" To state the obvious, I highly advise against simply dragging and dropping a melodic/harmonic loop into your project. Let's say you do though, and then you start cutting/chopping that up. Let's say you switch the chords around, or splice it up and load those chops into some sort of device like a Maschine and you start playing those splices like samples. You create a new chord progression or some new unique idea - that is *probably* going to be fine. But it might not, depending on how similar it is to the original idea. In my opinion, the best way to use these (harmonic/melodic loops), if you're going to, is to make sure you're changing the key, the tempo, and doing some creative processing. Chopping/splicing them up is great too because you're changing the loop altogether. Hopefully that answers your question. If you meant though, that you're just using one little bit of a loop? Like one bar of a 4 bar loop? I would personally advice against that. An AI detection software like Shazam will likely still catch that if you're not manipulating that original sample at all. It's a very grey area that can be quite confusing and problematic. Again, in my opinion, it's better to play safe than sorry. Hope that helps!
@@MarkHimley Thanks for the reply and input. I understand the caution that you recommend here. I'm speaking of royalty free/cleared for use "chops" purchased from an obscure beat maker based out of Portugal. These "chops" are one or two seconds long...they are probably chopped up from a recording session with a live player who is noodling around on his saxophone for a half hour and then cut up into hundreds of little "chops" like this.... and are designed to be used in/manipulated in lo-fi/retro/hip-hop style beats with Akai drum machines and samplers (I'm doing this with myself, as well, with my main instrument, trumpet.) Some of these clips are just two notes, so a tempo isn't really evident and they seem to work well in tracks of different tempos. I'm pitching them up or down a half step or whole step to match the chord and putting reverb effects, etc. on them, too. I'm sparsely using some of these (along with my own playing) in lo-fi/vintage-sounding tracks that I'm hoping to pitch to a library at some point for sync licensing. Thanks for your advice and channel!
@@elijahgrajkowski2505 oh very cool!! Yes, assuming that they are selling those chops that they have created themself and have the legal right to sell, then it sounds like you should be 100% fine. I only use that caution because, and I’m not blaming or accusing them of this, some people will straight up steal other peoples samples/recordings/music etc and then re-package them as new material and sell them. Not at all saying that’s what is happening, just saying that it does happen. More often than not it is with obscure sample pack sellers who fly under the radar. Assuming everything is legit, though, you should be totally fine. Sounds like you are manipulating these super short samples and using them in a very creative way. That’s the right way to do it! Thanks again for your question and hopefully this helps! I’m glad my videos are helpful to you as well, that’s what I’m here for :)
@@MarkHimley Yes, I did purchase these "chops" (there are hundreds of them on this album) from this guy and we connected via email. He recorded a friend of his in a studio who plays tenor saxophone, so they are his and he is legally selling them for use on his bandcamp account. The end user agreement does entail usage of these "chops" in sync licensing tracks such as the ones that I am creating. It's doubtful that many sync license producers and big name artists are using these same exact "chops" in exactly the same way that I am, so I am thinking that a lawsuit would be very unlikely, but it's good to consider all of the things you said, being new to this all.
@@elijahgrajkowski2505 it would be EXTREMELY unlikely that you would ever run into any problems with this, I would argue you are 100% totally fine. You’re going about it the right way, and using these in a very creative and musical way.
![เจ็บที่ยังฮัก - ม่อน วรวิทย์ [ Official Mv ] จอนนี่มิวสิค](http://i.ytimg.com/vi/KALIGSRSjFs/mqdefault.jpg)
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Thank you so much Mark for all of the great information- all in one place!
Absolutely killer info man. Such a helpful tip for anyone looking to get into synch
Thank you my man!
Wow, really good information for so many musicians!!!!
That’s my goal!! :) thanks for taking the time to watch and comment!!
Great info.Yes I would like you to make another video on the producer information 😎🤗
It's on my list, will do!! :)
Appreciate you sharing this.
My pleasure!
Great video. Can you do the video about getting a publisher that you mentioned in the video? Thank you.
Thank you for watching and taking the time to comment! Yes, I will make that video, it’s on my list :)
Great info! And you made a good point about Splice. I've actually never heard that before.
Thanks for watching, Luke! Yeah it has become a huge problem in sync, and honestly in the overall music industry as well. There's been a few lawsuits because of royalty free loops, I think a huge one was with a Justin Beiber song if I recall correctly, they used the same royalty free loop as someone else and sued them or something as if they stole their song.
@@MarkHimley I was looking into that after watching your video. That's crazy. This might be a great topic for it's own video.
Thank you for putting this video together and for providing those assets for free. Super helpful!
That's what I'm here for, glad it was helpful! Thanks for taking the time to watch
Hey Mark, not sure if you know or not, hitting that link no longer sends you that folder you speak of in this video. Gives you links to other stuff but not the folder with the syncassets with the contracts, work for hire stuff. I sent you an email about this as well. Thanks for the great info.
Emailing you back now. Thanks for letting me know!
Thanks. Could you kindly assist with signing as a publisher.
Thanks for watching! My pleasure. I will make a video about signing as a publisher and all things Performing Rights Organizations.
That would ne much appreciated
BMI is for sale now, not sure if this is a good option in the future....
I wasn’t aware of this and will definitely look into it. I’m sure it’s nothing to worry about, but thank you very much for commenting and letting me know!
Regarding "All writers listed below can absolutely and immediately authorize 100% clearance and represent the record non-exclusively as “ONE STOP”." Doesnt "record" refer to only the master? would it be better if I put "record and song"
Great question! Thanks for asking. Yes, that is correct. The record refers to the specific master. However within this split sheet we also have the percentages all laid out in terms of writers share, publishing, and the master. Maybe it would be better to put "record and song" but I don't see it as necessary tbh. Again - I'm not a lawyer, so take it with a grain of salt. Contracts/agreements like this are very common though. This split sheet is clearly showing we all own the song, what our percentages are, and that we all have the right to pitch it and sign any licenses one-stop. Does that answer your question?
@@MarkHimley Thank you for the info! I guess since in most cases were only trying to get a recording licensed it shouldnt be a problem however if a licensee wants a part of the publishing or writers share would that require me to have "song" there?
@@wan Well that would probably be a different scenario altogether. Personally, I would never give part of the writers share to a licensee. Not sure why you'd want to do that. The only time I'd ever even consider giving away writers share to someone who didn't actually help write the music would be if it was a direct deal with an in-house catalog of some network or something where it was basically guaranteed placements. In that case - the financial ROI makes sense. As for publishing, if I'm giving up publishing that means I'm signing a deal with a publisher, or a music library. They will have their own contracts and agreements that they use which all writers will have to sign.
@@MarkHimley I see, im new to this industry so im trying to get a good understanding before i move forward, thank you!
@@wan that’s wise of you to learn and educate yourself! There’s tons of great sources out there depending on what you’re trying to learn. More than happy to help or at least point you in the right direction. Also, if you use Discord, a couple friends of mine and I started a discord server for sync. I haven’t promoted it here yet, but probably will soon. Feel free to join if you’d like :)
discord.gg/4xf7DvcX
How long does an audio clip (melodic/harmonic) have to be to be considered a "loop?" Is there a difference between a "chop" and a "loop?"
Great question! I wouldn't think of it in terms of length. I would think of it in terms of "how recognizable is this?"
To state the obvious, I highly advise against simply dragging and dropping a melodic/harmonic loop into your project. Let's say you do though, and then you start cutting/chopping that up. Let's say you switch the chords around, or splice it up and load those chops into some sort of device like a Maschine and you start playing those splices like samples. You create a new chord progression or some new unique idea - that is *probably* going to be fine. But it might not, depending on how similar it is to the original idea.
In my opinion, the best way to use these (harmonic/melodic loops), if you're going to, is to make sure you're changing the key, the tempo, and doing some creative processing. Chopping/splicing them up is great too because you're changing the loop altogether.
Hopefully that answers your question. If you meant though, that you're just using one little bit of a loop? Like one bar of a 4 bar loop? I would personally advice against that. An AI detection software like Shazam will likely still catch that if you're not manipulating that original sample at all.
It's a very grey area that can be quite confusing and problematic. Again, in my opinion, it's better to play safe than sorry.
Hope that helps!
@@MarkHimley Thanks for the reply and input. I understand the caution that you recommend here. I'm speaking of royalty free/cleared for use "chops" purchased from an obscure beat maker based out of Portugal. These "chops" are one or two seconds long...they are probably chopped up from a recording session with a live player who is noodling around on his saxophone for a half hour and then cut up into hundreds of little "chops" like this.... and are designed to be used in/manipulated in lo-fi/retro/hip-hop style beats with Akai drum machines and samplers (I'm doing this with myself, as well, with my main instrument, trumpet.)
Some of these clips are just two notes, so a tempo isn't really evident and they seem to work well in tracks of different tempos. I'm pitching them up or down a half step or whole step to match the chord and putting reverb effects, etc. on them, too.
I'm sparsely using some of these (along with my own playing) in lo-fi/vintage-sounding tracks that I'm hoping to pitch to a library at some point for sync licensing. Thanks for your advice and channel!
@@elijahgrajkowski2505 oh very cool!! Yes, assuming that they are selling those chops that they have created themself and have the legal right to sell, then it sounds like you should be 100% fine. I only use that caution because, and I’m not blaming or accusing them of this, some people will straight up steal other peoples samples/recordings/music etc and then re-package them as new material and sell them.
Not at all saying that’s what is happening, just saying that it does happen. More often than not it is with obscure sample pack sellers who fly under the radar.
Assuming everything is legit, though, you should be totally fine. Sounds like you are manipulating these super short samples and using them in a very creative way. That’s the right way to do it!
Thanks again for your question and hopefully this helps! I’m glad my videos are helpful to you as well, that’s what I’m here for :)
@@MarkHimley Yes, I did purchase these "chops" (there are hundreds of them on this album) from this guy and we connected via email. He recorded a friend of his in a studio who plays tenor saxophone, so they are his and he is legally selling them for use on his bandcamp account. The end user agreement does entail usage of these "chops" in sync licensing tracks such as the ones that I am creating. It's doubtful that many sync license producers and big name artists are using these same exact "chops" in exactly the same way that I am, so I am thinking that a lawsuit would be very unlikely, but it's good to consider all of the things you said, being new to this all.
@@elijahgrajkowski2505 it would be EXTREMELY unlikely that you would ever run into any problems with this, I would argue you are 100% totally fine. You’re going about it the right way, and using these in a very creative and musical way.
Sorry Publishers not producer🧐
I figured that's what you meant :)