Creating Value By Licensing

So, someone wants to use your song in a TV Commercial. What now?

A fair price for a one-time license for a non-hit song from a no name is: whatever the artist is offered, or whatever your agent can negotiate without alienating the interested party. If the song has extended uses, other offers will follow. That's how you make money on licensing.

Songs –or anything for that matter– do not have any value until there is a market for them. You need to create a market. Like anything else, one accomplishes that by selling below cost and undercutting any potential competitors, which allows you to gain traction, publicity and some leverage on subsequent deals and transactions.

If a big agency knocks on your bedroom door and wants to use your song on a commercial that will increase your exposure, and which will also give you a platform to further market yourself –and if you are currently an unknown– don't mess it up by listening to a 'pal' who says your genius is worth more than what the offer is.

I can't tell you how strange it is to me that an unknown artist will give away their entire catalog on the Internet, but then claim it has extraordinary economic value the first time someone expresses interest in licensing a tune.

The prudent thing to do is to go with a reasonable* license for the present, and if the song is as catchy as your mother thinks it is, then other offers will follow (which is where you'll negotiate an ever escalating rate for your material, because now you have value).

*Reasonable means: Non exclusive use or limited exclusivity, for a limited time, in limited media; such as, 12 months for a designated TV/Radio/Internet Campaign, with an option to renew at the same rate, or a rate to be negotiated in good faith.

By the way, if the placement is for the theme of a TV show rather than for a TV or radio commercial, you can expect an equally low fee. Unlike advertising, however, the publishing on a hit show, especially if it goes into syndication will likely make any sum you negotiate very much worth your while. Even established composers scoring an original theme for a piece of TV entertainment will accept a low 'front end' figure betting on a series of fat paychecks on the back end. If the show gets knocked off the air you'll still end up with a bit of work you can use to promote yourself further.

Subsequent interest in your work –if there is any– will enable you to negotiate better terms as you establish a track record.

While it is unlikely several different advertisers will all want to use the same track at the same time in a given territory, sometimes they do. One piece of music can sustain simultaneous advertising licenses negotiated for use in different markets by industry or territory; and also win placement on a variety of entertainment projects, such as movies, games, TV shows.

A determined artist can certainly work the odds if they also learn how and who to pitch material to. But that's a career in and of itself. Do you want to be a music supervisor, or play guitar?

If you think of yourself less a performer and more as a composer, then one song –already favorably placed on a national campaign with a major advertiser– is a great way to introduce music supervisors with the rest of your catalog; and prospective clients in need of original music to your talent. Lots of music production companies were essentially built by one composer/writer who won a prominently placed track that he or she sold or licensed for next to nothing.

Humanitarian Organization Seeks Songwriter

If you've ever read the Economist magazine, you've noticed the Executive Level Help Wanted Ads for positions at Non Profit Aid and Development Organizations around the world. As much as I would love to be Managing Director for a Human Rights organization in Africa, I never seem to have the required credentials. Just for once, I would like to see an ad that looks like this:

CONSULTATIVE GROUP ON AGRICULTURAL RESEARCH (CGIAR)

The Mission of the Consultative Group on Agricultural Research (CGIAR) is to achieve sustainable food security and reduce poverty in developing countries through scientific research and research-related activities in the fields of agriculture, forestry, fisheries, policy, and environment. The Future Harvest Alliance Office (FHAO) is a unit of the CGIAR System Office that plays an important role in helping the Future Harvest Centers, the operational arm of the CGIAR, to maximize their contribution to the goals and objectives of the CGIAR. For more information on the CGIAR please see www.cgiar.org

The Alliance is seeking a SONGWRITER to lead the Future Harvest Alliance Office (FHAO).

The Songwriter will: Provide poetic and melodic support to the Alliance Executive; manage the human and emotional resources of FHAO members and manage the festivity budget for extracurricular activities funded by the Alliance; represent the FHAO in CGIAR System Office Party activities; contribute to the Alliance by developing jingles, hummable tunes and occasional dance beats; support the Alliance Executive Chair and Executive Committee in defining the yearly work program of Alliance of Future Harvest Centers of the CGIAR ; and of course, write songs.

The ideal applicant will have: made little use of an advanced university degree for at least ten years prior to application.

Applicants are invited to send their curriculum vitae; a letter expressing why they are interested in and qualified for the position; and a demo tape in CD format containing at least three (3) songs.

For further information about the position, please contact Dr Cheryl Williams, Executive Officer, at c.x.williams@cgiar.org.

economist, humor

Iggy Pop @ The Continental

The rumors are everywhere. By the time you read this, maybe CBGB's is a faint memory of days gone by. Maybe it's a chain with a 'destination' store in Las Vegas. Ever since punk blossomed out of the scene birthed by Television, The Ramones, Talking Heads and Blondie, I desperately wanted to play there.

Alas, no band, although I do still consider myself lucky to have played CB's Gallery stage in the basement two or three of times to an adoring empty room.

Well, of course I went there to enjoy the endless parade of black clad bands that did play. Unfortunately I didn't see anyone I could remotely say lived up to Punk's glory days, when, um, actually, punk was kind of melodic, and if you think about it, not entirely quite as minimal or cartoonish as The Ramones were.

Most memorable punk show I saw wasn't even at CB's but at The Continental, another legendary joint a couple blocks away, and probably not long for this world either. In the mid-nineties two friends of mine were playing in Iggy Pop's band – Eric Schermerhorn (Guitar) and Hal Cragin (Bass) – and they had let us in on a 'secret' performance. So, naturally, after wrapping things up at the studio, Chris Fosdick and I went downtown to be part of the scene.

Got there a little early and staked out our claim to two spots in the middle of the club. No seats mind you; we just stood there. By the time the show started, though, not only was the place packed, it was scary overcrowded. Women were standing on the bar, which could have been sexy, but they looked like they were reaching for oxygen rich air that perhaps floated nearer to the ceiling. As for where Chris and I stood, what seemed like great a vantage point before, now gave off a dread like vibe from the knowledge that we were in the inescapable midst of an insufferable death trap.

And then Iggy came out and he fookin' rocked, dude!

Ha!

Word got out; I guess some calls were made by concerned neighbors, and eventually the fire department came 'round and shut the show down, which was the right thing to do, and only added to Iggy's bad boy rep. In fact, it was such a strategic move, that I wouldn't be surprised if it was his manager having a Big Mac next door who placed the 911 call. Hell, I know the people sitting in Mickey D's saw the walls buckles as soon as Iggy hit the stage. The sound sucked of course. It was just one big roar punctuated by intermittent preening.

I think downtown hipsters will agree, something cool about it, tho'.


CBGB's, Iggy Pop

The Lizard King

Capped off my first performance at CBGB's 313 Gallery with the following original song, The Lizard King.

The song itself is partly inspired by Jim Morrison and partly the product of chance. Each individual line –and the odd couplet– in the song once belonged to another song I'd written over the previous 20 years.

While sitting at my desk in 1998, waiting for inspiration to hit, I stared down at my feet, and among the scattered pages of lyrics I picked out a line here, a line there. It began as a lark, really. But the result was a unified composition which incredibly makes some kind of sense. I guess today we'd call it a mashup.

Also the product of synchronicity, the choruses each begin with an allusion to the Virgin Mary ('Dolores Our Lady of Sorrows', 'Lolita' and 'Ave Maria').

Somehow, it all just works.


The Lizard King
By Terry O’Gara
©1998

And so the lizard king will not return
And we will never know
And we will never learn
What never was will never be
I guess I was one of those that never did believe

In anything, in anything but myself
And I don’t want your help
I know all I need to know of love
And that’s enough
I want to feel the pain
I think it’s better this way

Dolores Our Lady of Sorrows
Was seen at a truck stop in Ohio
But you had to stand on the outside looking in
Well isn’t that typical, hypocritical
But we all gave up a hymn

Singing ‘Holy, Holy
Never let go of me’
And ‘Save me, save me’
From the fric and the frac
Oh if only I believed
In all of this crap

Lolita Our Lady of Toenails
Sits in the grass while I sip my cocktails
Shivinanda says sit still and focus
But I twitch like a hundred thousand locusts

Meanwhile a rock’n’roll angel eats her cocoa puffs in heaven
While a video camera swallows your every move
Desperately you search the house for meaning
While she sits alone in her room

Ave Maria Oh baby
Ave Maria my love
How is it everything we put our faith in
Couldn’t save us in the end

And so the lizard king will not return
And we will never know
And we will never learn
What never was will never be
I guess I was one of those that never did believe–

In anything.

CBGB's 313 Sessions

April 4, 2005 was my final performance at CBGB's 313 Gallery. In my brief history with the venue, my repetoire included the following original material:

Things Fall Apart
Branded @ Birth
Deep Kiss Nine
Union City
The Lizard King
Love As It Ever Is
Right About Now
Cityscape
Trench Coat Mafia
Honest To Badness
Acid Rain

CBGB's, songwriter

NY Singer/Songwriter Sessions

One day I wake up one day and I experience this awkward enlightenment that I've spent the better part of an otherwise satisfying music career sitting in a recording studio staring at computers. Hey, I got into this thing because I love performance, and now what was I doing?

Well, you'd think a guy like me who's worked with every professional musician in New York would be able to put together a band. I'm not talking about a Let's-Get-A-Record-Deal band; I'm talking about a Let's-Hang-Out-And-Play-Some-Tunes band.

No such luck.

So I pick up the guitar and says I, 'I can play this thing'. After all, I grew up playing the violin and viola – it's just a matter of figuring out this fretboard thingy.

Not exactly.

Years go by.

Okay, but afterwards I'm doing all right as a guitarist and I've been woodshedding my tunes, rearranging them from stunning recording studio creations with symphonic backdrops, and scaling them down to a singer/songwriter format I can accomodate alone, and without backing tracks.

Along the way, I audition for (and get invited to join as a member of) the Singer/Songwriter Sessions. This may or may not mean much to anyone else, but for me, the forum provided a nice vehicle for practicing the live thing.

Finally, my big night arrives, my debut, at CB's 313 Gallery! It's not the main stage upstairs, but I'm an adult now; and I quite like the chill atmosphere here in the basement. Not that it helps my nerves. In fact, I'm a walking anxiety attack. But it actually went okay! And it helped that a bunch of my friends showed up to clap at the appropriate places.

When I got off stage any remaining anxiety melted away and I felt like a new man.


CBGB's, songwriter

Music = Life

Each moment is connected,
Each day part of an unfolding melody.
It begins with the cry of birth
And ends with a final gasp.
What happens in between,
I call music.


poetry

Synclavier: Sampling, MIDI & Days Gone By

The introduction of Sampling technology and MIDI to the Synclavier proved to be enhancements that led to a kind of undoing when it came to users and operators going for a Synclavier synthesized sound.

I think of sampling technology, in particular, as both the beginning and the end of an Era.

The reason for this is that after New England Digital introduced sampling as an instrument option, technicians and musicians –both– abandoned the instrument’s unique synthesis capabilities in favor of triggering perfectly ‘real sounding’ samples. It’s probably fair to say that there is a lot of Synclavier use on albums that you'd never know was Synclavier because it was being used to trigger samples, or as a Digital Audio Workstation, and not as a synthesizer.

Keep in mind, when when I say 'sound of the Synclavier', I do not mean way the sound waves generated and output by the digital-to-analog convertors were colored. I mean the actual sound synthesis possibilities unique to the instrument.

Synclavier sound synthesis met continued diminished use after the additional introduction of MIDI. At that point the instrument might be used not just to trigger an internal array of samples, but also as powerful sequencer triggering a battery of layered other synths of the day, like D-50's, M1's and Emu.

In fact, by the time I began working for Jonathan Elias, none of the staff composers used the inherent synthesis technology of any of the three units the studio owned. It was all about MIDI Sequencing of samples and outboard gear.

So, would I buy one of these vintage beasts today, given the power and economy of today’s music production tools? Well, they’re no longer so expensive. A machine that original sold for nearly a hundred thousand twenty-five years ago could probably be bought and restored with MAC functionality for about a tenth of the original price.

And I’m a synthesist in the classic sense, myself, at heart, not a guy who triggers samples. My ears are shaped by years developing an expertise with both the Moog and Synclavier, and listening to them through analog Neves and Yamaha NS-10s.

So my answer would be resounding YES. Hey, I still get wobbly knees when I hear that original Synclavier factory Gong patch lead off Michael Jackson’s BEAT IT.

Synclavier: ReSynthesis

Another interesting approach for sound modification offered by the Synclavier was called ReSynthesis.

I think ReSynthesis struck the computer musicians of the day, like myself, as more interesting and useful than it struck traditional composers and production personnel.

In brief: Using ReSynthesis, up to 96 individual sampled instruments –each with their own envelope– could be sequenced by triggering a single key stroke. So for instance, a single sound could start out with a trumpet attack, transition into a violin down stroke, then into a child's laugh, then into a car horn, etc - up to 96 such changes, if one so desired.

The same thing can of course be done today by cross fading through a series of samples, but in 1987 it was a mind boggling concept.

Synclavier: Synthesis & The Sound of The Synclav

The power of the original Synclavier II and Synclavier instruments lay in the combination of Fourier styled synthesis and FM built into the user functionality of the units. The combination of technologies 'under the hood' created stunningly organic sounds for the time - even in sounds that weren't necessarily simulations of 'real' instruments.

Frequency Modulation on the Synclavier worked differently than I’ve seen it implemented on just about every other synthesizer I've come across. Unless you’ve actually worked with one, it’s hard to grasp just how uniquely FM was used within the context of a Synclavier environment, especially if your only experience with FM is, say, on a Virtual Analog that maybe has one rotary knob labeled 'FM'.

I’m sometimes asked today if there’s a way to get that Synclavier sound on any of the contemporary VA’s.

Yes and no:

I can coax steady state Synclavier-like sounds (pads, bells, hits) out of any virtual analog. The thing with the Synclavier though, is that the FM aspect of it was used to integrate expression into the sound, not just as a superficial modulator, as it is on so many other synths.

For instance, one would use the FM to create the sliding bow to enhance the realism of the underlying tonal string sound; or the breath on a horn's mouth piece for a brass patch. This was a big concept in its day, that by layering a primary tonal sound with secondary audio information whose color mimicked the noise of a musician working his or her instrument could capture and really enhance the realism of any given simulated sound.

But even more exciting, this meant one could create a totally unique patch, that sounded like nothing else in the universe, and program information into it that made it feel like a 'real' instrument, albeit one you've never heard before. And that was a sonic revolution.

You can't do that on a virtual analog synth. But, –yes– you can approximate some of those otherworldly Synclavier leads and pads if you wanted to.

And for what it's worth -and I mentioned this somewhere online before- the Waldorf products do an exceptional job making pads that sound like vintage Synclavier patches.