Barry  Coffing's Profile photo'
Barry Coffing,
I have written #1 hit songs around the world and I have lost an Emmy. (they call it being nominated) I have had major publishing and record deals. (Both big mistakes) I have written over 200 songs for film and TV. I am an award-winning film producer. Best Producer at The Beverly Hills Film Festival (the movie took 10 years to finish and 2 of my actors were dead when I got my award) I love artist development. (making rock stars and records)
Location: LA, USA Website: http://www.wegetartists.com/ Followed by 0 people

Barry Coffing

1 year ago

If you are hired to write a composition and create a track. That is a "Work for Hire" and like every other job if they hire you they get the work. A standard deal for film and TV is that they own the recording 100% and the composition and publishing 100% but they grant back 100% of the composition royalties (NOT publishing or recording ownership) back to the composer. You should try to get this type of deal.

If a commercial wants to use a composition and recording you already created you keep all ownership. You are granting a license for them to use your music. If it's enough money they will ask for an exclusive at least in the same product line. (No other car commercials for a period of 24 months etc...)

Mark Allen's Profile photo'
Mark Allen,
Mark Allen is a music supervisor and a creative sync agent. For over half a decade he worked at London based ThinkSync Music before he moved to Miami to continue his career freElance. His past projects include for American Made, Astro Gaming BBC, Studio Canal, Universal Pictures and more.
Location: London, UK Website: http://thinksyncmusic.com/ Followed by 0 people

Mark Allen

1 year ago

Depends who pays for the recording. It's becoming more and more common for the ad agency or composer house/music agency to want to publish the work, thus getting more income stream. Normally you would want to retain ownership where you can but it isnt always possible these days. Royalties on a TV commercial can be incredibly high, especially if the spot airs globally. You would look to get a decent publisher in place to collect the income around the world, as they would have sub-publishers in place who collect locally and understand the market. If you can’t own the track, look to increase the upfront fee, as that could be all the money you get.

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