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Tatsuya Oe Interview about Music Licensing Business for Billboard biz (US)

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Home > Topics > Media/Press > Interview > Tatsuya Oe Interview about Music Licensing Business for Billboard biz (US)
Categories: Interview. Tags: United States, Sync License, and Websites.
Mar 4, 2013
Billboard biz

Tatsuya had a long interview with Mark Frieser, contributing writer of Billboard biz and founder of Sync Summit /Sync Exchange.

This was originally held as a series of interviews on Billboard biz he has been working on from the standpoint of “possibilities of music licensing business,” and the article has been pre-published on Sync Exchange and Music2Deal websites (as well as Blog page on this website). Publication on Billboard.com is due in this early summer.

While we comprehensively covered many topics about music licensing business, these are based on what he has actually experienced and learned for years. We hope this article will be helpful for independent musicians and publishers who have been exploring possibilities of the music business on a daily basis.

If you’re interested in Mark’s other interviews with Gerald Casale (Devo), Martyn Ware (Heaven 17), Chuck D (Public Enemy), Mathew Knowles (Music World Entertainment, and Beyonce’s father), etc., check out Billboard.biz and Sync Summit pages. These precious talks with the music industry greats should be helpful for you as well.

Tatsuya Oe page on Sync Summit

Sync Exchange “Creating a Successful Licensing Business as an Independent Musician (Part 1)”
(Part2)

Tatsuya Oe interview on Sync Exchange

Music2Deal Interview page

Tatrsuya Oe interview on Music2Deal


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United StatesSync LicenseWebsites
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Tatsuya Oe Updated: December 12, 2025

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10 March 2026

パンチの効いたビートやボーカルを作る際、アタックにTR-808のハイハットやホワイトノイズを薄く重ねると、キックやスネアの解像度が劇的に上がることがある。ハット特有の鋭い「チッ」という音には、10k〜16kHz付近の非常に純度の高いエネルギーが含まれているからだ(単体で聴くとキツイ)。この帯域を超えると人間には聞こえない「超音波」の領域に入るが、犬にとってはここからが本番の可聴範囲となる。犬笛を眺めながら、そんな音の境界線に思いをはせる。

【犬笛による呼び戻し】 https://youtu.be/q2AXwSG7jDg

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10 March 2026

ハリウッド映画界には「Temp Love」という用語がある。制作が猛烈なスピードで進むため、最終的な劇伴が完成するまで、映像には多くの「仮の音楽」が当てられる。有名曲等が使われると、監督はその曲に執着し、作曲家に酷似した曲を求めてしまう。この「仮の音楽への執着とプレッシャー」への対応に苦心する作曲家は多いようだ。僕の既存曲が映像に使われるのは歓迎だけど、あえて書き下ろしの仕事を請けないのは、こうした風潮も理由の一つかもしれない。

Temp Loveのワナを避ける方法(英語) https://www.soundstripe.com/blogs/how-to-avoid-temp-love

No Title
9 March 2026

この「Rakuen」という曲は、2019年リリースの『Oceans』に収録されているが、最初のバージョンを作ったのはそのずっと前、OE『Director’s Cut』を制作していた頃だったと思う。曲の雰囲気の通り南の島をイメージして作ったのだけれど、当時実際に行ったことのある島は沖縄くらいだった。その後、常夏の島で暮らしてみた後でこの曲を聴くと、頭に浮かぶ映像が俄然リアルなものになった。年中半袖&短パン生活を目指して、今日も頑張るか(笑)。

Captain Funk – Rakuen #downtempo #rnb #mellowbeats https://www.youtube.com/watch?v=YuQqVF3Ij5U

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