While we comprehensively covered many topics about the music licensing business, these are based on what I\u2019ve actually experienced and learned for years. I hope this article will be helpful for independent musicians and publishers who are exploring the possibilities of the music business on a daily basis.<\/p>\n If you\u2019re interested in Mark\u2019s other interviews with Gerald Casale (Devo), Martyn Ware (Heaven 17), Mathew Knowles (Music World Entertainment, and Beyonce\u2019s father), etc., check out his Billboard.biz and Sync Summit pages. The invaluable interviews with these music industry greats should be helpful for you as well.<\/p>\n (To Read Part 2 of the article CLICK HERE<\/a>) Mark: Thanks for taking the time to speak to me today. Now, let\u2019s jump right in and talk about licensing. What is your general view of the marketplace as an independent artist and producer?<\/strong><\/p>\n Tatsuya:<\/strong> Well, I think we\u2019re doing business in a very exciting time. There\u2019s a great deal of market evolution in terms of business models and the scale of the market that are creating both challenges and opportunities for artists.<\/p>\n And speaking of evolution, how has the sync licensing market changed since you started in the music business?<\/strong><\/p>\n When considering a lot of potential opportunities in the music business, the future doesn\u2019t really look so bad. Suppose you, like me, are an independent songwriter and have an entrepreneurial and positive attitude. In that case, you will agree that the evolution from a physical to a digital market has given musicians more opportunities globally and locally. Specifically, regarding music licensing, or the B2B side in the music business, it has become easier for songwriters to connect directly with licensees (music supervisors, clients, etc.) or to find licensing companies who facilitate us with licensees. I can say the situations are changing in favor of independent musicians and labels.<\/p>\n And what digitally-based tools do you use to connect with potential licensees of your music?<\/strong><\/p>\n The Internet offers many licensing services, music libraries, and knowledge-based resources, which are good starting points for networking and connecting with buyers. However, artists must carefully vet potential buyers to ensure they\u2019re credible and professional and can work with their way of developing music and their preferred way of doing business.<\/p>\n Offline, there are many traditional resources\u2014conferences, festivals, seminars\u2014that are excellent ways to connect with potential buyers. Whatever resource you use\u2014and you should use every opportunity at your disposal\u2014it pays to do research and planning beforehand, including working on your production skills and educating yourself on how the music licensing and copyright business works. Ultimately, the more you educate yourself, do research, and network, the more potential there is for positive results.<\/p>\n So let\u2019s discuss the issues in the current market \u2013 what do you think is wrong with it?<\/strong><\/p>\n I wouldn\u2019t say anything is wrong per se. What I do think is that there needs to be more transparency for royalty collection for rights holders, especially regarding international operations (regardless of media type) and streaming services. While we could say the former is a traditional issue and the latter more current, both issues are too complicated to be solved quickly.<\/p>\n When it comes to international royalty collection, overseas societies such as PROs (performance rights organizations) or MROs (mechanical rights organizations) often cannot identify who owns what, and as a result, the rightful owners do not get paid their fair share.<\/p>\n And why do you think there is so much confusion in confirming ownership?<\/strong><\/p>\n Several reasons include incorrect registration by copyright owners, a lack of licensees submitting cue sheets, and human error. Also, overseas societies are often too busy to pay attention to international operations. In any case, the best thing is to be as conscious as possible about tracking the use of your music and build a good relationship with your licensees, PRO\/MRO, and primary and sub-publishers to have the best possible idea of what is happening. No matter how technology evolves (such as digital fingerprinting), that\u2019s still crucial.<\/p>\n So, how does this affect the way you do business?<\/strong><\/p>\n Even though the music licensing business and general music services have evolved, the basic rules of copyright haven\u2019t kept up with the innovation, not to mention what\u2019s happening with some music streaming services. In a fast-moving market, sometimes the players can change the rules of the game before they have a chance to react.<\/p>\n\n\n Now, let\u2019s talk about your career in particular \u2013 how important is licensing and placement to you in terms of exposure and revenue?<\/strong><\/p>\n Music licensing is one of the most essential parts of my overall business. It has been a stable, growing part of my total revenues for more than a decade and accounts for over half of my total income, including performance royalties. As you may know, my local (Japanese) market is quite different from the US market in terms of licensing business. Although there are fewer opportunities for sync placements, we can secure a certain amount of performing and mechanical royalties. When it comes to sync licensing deals, the majority of my achievements come from the US and other countries. And this is my latest focus.<\/p>\n And what about exposure and audience building? How has licensing your music allowed you to build and retain your audience and get exposure for your music?<\/strong><\/p>\n I have never considered sync placements a primary way to build my fan base, but many of them have helped me reach new audiences and solidify the relationship with my existing fans. Some TV commercials in which my artist names were credited worked well.<\/p>\n For example, in the US, my latest project Dark Model\u2019s track “Oath (Dubstep Remix)<\/a>” was licensed and featured with its artwork in a 2013 Verizon Wireless (NYSE: VZ) TV commercial. Together with this, a ringtone version of the track was exclusively released on the Verizon online store. From what I have seen, the music placement and the exposure of the artist’s name have helped me greatly to generate recognition and interest from an entirely new audience in the US. Specifically, it worked for those who were crazy about edgy hybrid (=orchestral electronic) music and EDM (Electronic Dance Music) such as dubstep or glitch electronica.<\/p>\n![\"Sync](\"https:\/\/www.tatsuyaoe.com\/blog\/wp-content\/uploads\/2013\/02\/SyncExchange_Tatsuya_Oe_Interview.jpg\" "\\"Sync")
<\/a><\/p>\nPart1<\/h2>\n
\n\nWhat’s happening in the music licensing business now<\/h3>\n
Musician’s career development – from the standpoint of music licensing<\/h3>\n