AudioMicro Royalty Free Licenses 101

A U D I O M I C R O   M U S I C   L I C E N S E S   1 0 1

 

 

 

 

 

Want to know more about what our Standard License for Music Track covers?
Let us give you the 411.

We’ll cover all the music licensing types in this article, but will focus on our tried and true- The Standard License for our Royalty Free Music Tracks.

We’re stoked to offer you the most affordable Standard License price in the industry, not to mention our HUGE library of HIGH QUALITY tracks, all for just $34.95 per song.  Woot!

So where can you utilize these tracks?  Let us count the ways…

  • In any free apps, podcasts, software, and games, utilized on iPhone, iPad, Android, & Facebook.  As long as it’s free, you’re free to use these songs as many times as you’d like!  Score!
  • In any non-downloadable casual games played exclusively via a web browser, both free and paid.  Live Games = Game on!
  • In any creative project videos that are non-advertisements, for TV, Radio, Wedding Videos, and Corporate Videos.  No Ads = No Problem!
  • ANYWHERE on the world wide web (we like to call it the Interwebs), including on YouTube, Vimeo, Facebook, Websites, Web Videos, & Slideshows.  That’s right, anywhere on YouTube land – so create away!
  • In any Film Festivals projects, both student and professional.  We love making big screen debuts!

And what about Reproduction?

The Fine Print :: The Standard License includes the reproduction of up to 1,000 copies of your project in physical, tangible products like CD’s, DVD’s, VHS tapes, Blu-rays, toys, and console games.

So, in sum, the Standard License is all you need, unless of course, you are using the music in the following scenarios. ::

  • For Ads- In an Advertisement to be run on Television or Radio
  • For Films Not at Film Festivals – In a commercial film release or theatrical presentation (excluding film festival screenings)
  • For large-scale Paid Games- In a paid (i.e. not free) iPhone/iPad/Android app, podcast, or downloadable software/game where more than 1,000 copies will be downloaded. Notice: Apps and games that offer “in-app” purchasing by the user are considering paid (i.e. not free) and require the Mass Reproduction License if more than 1,000 will be distributed.
  • For large-scale Reproduction- In over 1,000 physical/tangible reproductions of a product like CD’s, DVD’s, Blu-rays, toys, and console games.

So there are the In’s and Out’s of our Standard License, and all for $34.95!
Quite the steal, wouldn’t you say?  And just a reminder that your dollars are supporting the very deserving and talented musicians and artists who spend countless hours providing you with premium sounds!

Now remember, these deets cover our Music Tracks only.  Interested in Sound Effects SFX Licenses, click here.

Didn’t cover your intended use?  Keep reading for increased coverage.

Here’s a run-down of ALL the MUSIC LICENSE options – depending on your use:

B) MASS REPRODUCTION – $134.95 for up to 10,000 copies to $284.95 for unlimited.

This license is ONLY required if you wish to make over 1,000 physical/tangible reproductions of your product or utilize the music in a paid (i.e. not free) iPhone/iPad/Android/Facebook app, podcasts, software, and/or games where more than 1,000 copies will be downloaded.

Notice: The Standard License allows up to 1,000 downloads of both free and paid software/games as well as unlimited downloads of free (and not allowing in-app purchasing) iPhone/iPad/Android apps, podcasts, softwares, and games. Therefore, you do NOT need to purchase a mass duplication license unless you’re distributing over 1,000 physical/tangible reproductions of videos, softwares, games, toys within media such as CDs, DVDs, VHS tapes and the like OR using the music in paid (i.e. not free) iPhone/iPad/Android apps and podcasts to be downloaded more than 1,000 times.

Mass Reproduction license prices:

  • The standard license price of $34.95 plus $100 for up to 10,000 reproductions
  • The standard license price of $34.95 plus $250 for unlimited reproductions

 

C) TELEVISION/RADIO ADVERTISEMENT – $134.95 to $284.95.

This license is ONLY required if you are using the music in an Advertisement run on either Television or Radio.
Television / Radio Advertisement License prices:

  • For Music used in Local/Regional advertisements played on Television or Radio (with a range of 250 miles in all directions from the broadcast center), the price is the Standard License price of $34.95 plus $100 ($134.95)
  • For Music used in Nationwide/Worldwide advertisements played on Television or Radio, the price is the Standard License price of $34.95 plus $250 ($284.95 total)

 

D) THEATRICAL / COMMERCIAL FILM RELEASE – $284.95 for worldwide rights.

This license is ONLY required for commercial film releases and theatre presentations. Utilization of the music in non-commercial, educational, and editorial projects, like student films and contest submissions, is included in the Standard License. Please be sure to credit “Royalty Free Music by AudioMicro” in your project.

Theatrical/Commercial License Price:  The Standard License price of $34.95 plus $250 per track

Notice:
All of our licenses allow you use the music solely in your own projects. You cannot resell the music as a standalone product or create a derivative work that primarily contains just the music and the resell it as your own, such as a meditation CD with your voice running over the music. If you’d like to use the music in such a manner, please contact us for a special license arrangement.

Bonuses:
We offer a bonus of 20% on purchases over $500 and in the form of store credit to be used with your next purchase. Simply contact us after you have made your purchase and we’ll place the bonus into your account. We also offer bonuses for verified charities and nonprofits.

So that’s AUDIOMICRO’s Licensing 101 friends.

Let us know if you have any questions, and Go Forward and Create!

~The AudioMicro Team

FCPX must have utilities

FCPX_logo_1

When Final Cut Pro X first came out in 2011, I wasn’t too fond of the new interface or the editing paradigm, as it challenged everything I was taught to do in school. After numerous updates to the software, third party party utilities coming to market, and using it for the last four months, I’m more confident in Final Cut Pro X’s workflow than I ever have been before. Here is a quick rundown of some applications I’ve found helpful with transitioning to a FCPX workflow.

Event Manager X

icon

This handy must-have app is the creation of the folks at Intelligent Assistance. The process of dealing with events and multiple projects can be tedious at times. This app has a lot more going on under the hood, and gives you control of your events and projects with an easy to use interface.

em03

According to the description from the site, Event Manager X allows you to do the following:

-Quickly manage Events and Projects using visible checkboxes.

-Filter through libraries to find specific Events and Projects.

-Keep track of hidden Events and Projects.

-Check all storage devices that hold needed Events are properly mounted.

-Launch FCPX much faster using fewer active Events in the Event library.

Those are just a small list of the many things Event Manager X can do. At $4.99, it’s a no brainer purchase if you want to relieve yourself of sluggish performance Final Cut Pro may experience with multiple projects and events.

7toX

icon.175x175-75

This is another must have app from the folks at Intelligent Assistance. This app allows you to bring projects from Final Cut Pro 6 & 7 into X. The simple to use app takes an XML file of an edit you create in those legacy programs, and translates it into a workable project in FCPX. Below is a small list of the things that carry over during the import process:

-Bins become keyword collections.

-Sequences become compound clips and get tagged as FCP6/7 sequences.

-The track structure is represented by Roles.

-Multicam is fully supported.

-Motion Tab parameters are translated to Transform, Crop, and Opacity parameters.

From my experience, this process has worked 95% of the time with most projects I have sent from FCP 7 to FCPX. This app is great to use if you need to update old projects and want to cut them with the speed of FCPX. At $9.99, it will pay for itself in less than an hour of work.

ClipExporter

247831560_640

This app is a free workflow and export tool from Mind Transplant. It allows you to send your entire timeline to After Effects, and batch export selected clips to Quicktime movies. You can also convert your clips for Nuke. Previous versions of FCPX were limited in their export abilities. If you are an editor who relies on these compositing applications to fix a project, this was an obstacle to overcome. Below is a video explaining how ClipExporter helps the editor overcome that obstacle and keep working.

Overall, this application is very handy. With a few more updates, it will become more utilized among filmmakers.

Motion Template Tool

177852

With FCPX effects, generators, and transitions all being Motion 5 templates, it’s now easier than ever for users to create their own effects from scratch and download them from other users across the internet. One thing that can be a pain is going through the folder structure of your Mac to install them if they don’t have custom installer. With the free Motion Template Tool, you can manage and install custom Motion Templates. Created by the folks from Spherico, this app is helpful for users and developers who want a hassle free way to manage templates. Popular FCPX editor Alex Gollner makes great use of this tool for his templates. All you have to do is install the app, download a custom template, and double click it to install. The tool does the rest.

CreateDiskImage

sdicicon

Sparse disk images and bundles have been around for years, but recently it has become a preferred workflow method for popular FCPX users like Ripple Training and Magic Feather Inc. This has been a workaround for backing up projects, creating projects, and working collaboratively. Mac users can create a sparse disk using the Disk Utility app, but the folks from Spherico created the free Disk Image Creator to simplify the process. As explained by John Davidson from Magic Feather in this video below, using the Disk Image Creator to create a sparse disk is the preferred workflow when he cuts spots in FCPX for clients.

This is app is handy if you want to manage your projects from a disk image as opposed to a root of your internal or external drives. These are just a small selection of the third party utilities available for Final Cut Pro X. At first, I wasn’t too happy to find out that I had to go to other sources to get functionality that should have been built into FCPX. However, my opinion has changed after some time. I respect the fact that Apple gave developers the ability to shape how they worked in FCPX instead of determining it for us. I’m the NLE Ninja with Audio Micro asking you to stay creative.

Sound Effects

AudioMicro Introduces Sound Effects Subscriptions

Photobucket

In April, we unveiled a fantastic redesign of AudioMicro.com – complete with a more straightforward dollar pricing system and increased clarity and options for different music licenses. Unfortunately for some users this also came with the removal of previous subscription options. However our continued interest is the satisfaction of our customer base and correspondingly the constant improvement of our products…

So now we have raised the bar once again – re-introducing monthly sound effects subscriptions for our dedicated sfx buyers.

The sound effects subscriptions offer packages tailored specifically at sound effects users, and greatly reduce the per download cost of a single sound effect. The packages currently available are:

* 5 sounds per month for $9.95

* 25 sounds per month for $39.95

* 100 sounds per month for $99.95

Comparatively speaking, the per sound effect download cost for an a la carte download is $3.95, so needless to say the sound effects subscriptions offer a much more cost effective/cost conscious option for any user who needs several sound effects per month. Even the most modest subscription plan (5 sounds per month for $9.95) cuts the a la carte/per sound effect cost in half. While the best value plan (100 sound effects per month for $99.95) offers users the chance to download sound effects at just $1 per sound effect.

Users can allow the subscription to recur on a monthly basis, or cancel conveniently any time by navigating to their SFX subscriptions page once logged in to their AudioMicro account.

We’re proud to roll out this new addition to our product and know that users will find great value and peace of mind being able to select a package perfectly suited for their sound effects needs. You can sign up now by navigating here.

 

 

AudioMicro Certified Hotness – Dubstep Anyone?

Photobucket

Ever since Skrillex walked away with 3 Grammys in early 2012, the use of Dubstep has fast become a mainstay in media sync music. From Infiniti commercials to The Championships at Wimbledon, it seems every ad agency has jumped on the bandwagon and rightfully so. It is ideal for high energy media with definitive visual hit points. Here’s why…

Dubstep is a very heavy variety of EDM (electronic dance music), crafted through very intense “momentary” arrangements. Screeching high pitch sounds are often followed by gasps of sonic space, only to be refilled with huge bass “wobble” sounds – glitches, white noise, and other EDM production archetypes are used throughout as well. These dramatic sonic changes, coupled with the brief rests and restarts, keep listeners’ heads nodding at a frantic double timed pace. These rests and restarts also make for great hit points when synced to video.

Skrillex pulled in over $15,000,000 last year, with sync fees for his more popular tracks reaching well into the 6 figures range. Lucky for you, AudioMicro has a rapidly growing arsenal of top quality dubstep tracks and producers that you could license for any use imaginable. With prices ranging from a mere $29.95 to $279.95 (check out our License page for more details on the cost breakdown).

Photobucket

WARNING, Dubstep is not for the sonically faint of heart.

Here are 5 of my favorites we have received thus far – courtesy of DubStepKings, MakeSomeNoise and Artmel.

DubStepKings

Rebels Attack – A nicely arranged, musical dubstep track with a nice verse/chorus/bridge feel. Super glitchy and crazy.

Eroded Sun – an almost classical sounding intro compositionally speaking, evolves into a cool, trippy dubstep jam with a nice bridge and outro section

MakeSomeNoise

UpStep Dubstep – all I have to say is WOW – progressive, musical, intense. This guy is on top of his wobble game for sure.

Dubstep Intro – MakeSomeNoise strilkes again with this 60 second cue. Heavy wobbles are preceded by a cool little intro build to get it started.

Artmel

Dubstep Loop – this is a really cool loopable piece from Artmel based on a very jazzy progression, I really dig it – super unique vibe.

That’s all I’ve got for you this week. Have an awesome weekend everyone.

 

Happy Independence Day!

Photobucket

Happy Birthday to the United States of America! Ahhh the 4th- good friends, barbeques, cold beverages, music, and yes of course – fireworks.

Few things are as definitively awesome and American as a butt kickin’ Fireworks show on the 4th of July. That said, if you’re shooting video of the show, catching the sound isn’t always the easiest thing to do – especially considering fireworks shows don’t necessarily take place in the most confined of sonic spaces. How about adding some whistles to round out the scene? Still not quite there? Not to fret because this awesome grand finale fireworks sound effect will fill the void in your 4th of July video’s sound mix perfectly. Check it out.

So we’ve got a couple great sound effects for America’s birthday, now how about some tunes?

Celebrating a nation’s birthday without a sweet rendition of their national anthem would be terribly unpatriotic – good thing AudioMicro has the goods. Check out this fantastically performed National Anthem, and don’t forget to join in the fun by hooting and hollering starting at “the rockets red glare.” It’ll sound just like Dodger stadium.

Lastly, on a more personal note, two genres of music really defined my formative years in the States, and those were Hip Hop and Rock.

There are some fantastic hip hop and rock composers on the site, many of whom also fly the American flag! One of my personal favorites is RCummins. His style is truly classic American hip hop, and the track “Good for the Soul” is an awesome mellow background track for the barbeque scene in your video. Check it out here. Or check out R’s entire portfolio here.

Now, its time for rock! This one’s easy – just yesterday we added tunes from KJrecords, many of which make up some of the best rock tracks the platform has ever seen. Check out:

All Night Blues in E and Swampdog Blues in D – to get a taste. Or check out the entire portfolio of world class studio productions here.

Have a safe, fun and musical 4th! Until next time…

 

 

 

Five Dollars Can Make A Huge Difference

Five Dollars Can Make A Huge Difference – Music by Mark Hewer / SOCAN / AudioMicro.com

 

AudioMicro helps artists both established and unknown place their music in creative projects. For the past 6 months since our launch, the platform has generated numerous music placements including educational videos, websites, and online games. This promotional web video, created by the good folks at the Metro Atlanta Task Force For the Homeless serves as a powerful reminder that a small donation and viral message can really make a difference in the lives of millions. The track, “Revelation” comes from AudioMicro artist Mark Hewer.

Ian C. Rogers’ Keynote at the GRAMMY Northwest MusicTech Summit

Topspin Media’s CEO, Ian C. Rogers, delivered the keynote speech at the GRAMMY Northwest MusicTech Summit this week.  The keynote makes powerful, factual, and honest points about the present state of the music industry and offers insights into the future.  The Topspin model is becoming more clear, and during the keynote, Mr. Rogers offers some stats of the success of Topspin in its nascent times as a music marketing agency (we like to think of them as “future major record label” but perhaps this title is far from accurate in their eyes).  We see Topspin as being about empowering the artists and the fans, and in his keynote, Mr. Rogers made it clear that these two parties, the artists and the fans, are the only things that really matter in the larger scheme of things and that everyone else is just along for the ride.  

Please read the entire keynote (linked above) and decide for yourself. In short, he points out that the music industry is a growing industry and should not be measured by the P&L of WMG or the latest balance sheet of UMG, but rather by the increase in consumption.  Music is being consumed in greater volumes that ever before, leaving room for a new “middle class” or artists with the tools and ability to empower themselves, take full ownership of their work, fully produce and master their recordings, and market the material without the need to sign with a record label at all.  He points to three great success stories that have come out of Topspin in recent months, including campaigns for launch of David Byrne and Brian Eno, Joe Purdy, and Jubilee.  Stats surrounding the decline of CD sales year over year do not tell the entire picture, and there has been no better time to be an independent musician than now.   

Michael Arrington re-states his position that “music will be free”

TechCrunch founder and CEO Michael Arrington, a top web writer, debater, and all things startup, wrote a nice post about 360 music deals this week.  Towards the end of the post he goes on to restate a position he has been advocating for well over a year now, that “Recorded Music will be Free“.  The year old post links to other bloggers that take contrary opinions of his post, including Paul Glazowski of Profy.com.

Mr. Arrington may be right in his position, he may not be.  Nevertheless, it’s a position worth debating.  For clarifcation, AudioMicro interprets Arrington’s prediction to be that “music will be totally free for everyone to download and use in a personal manner but that it will be supported through an advertising model”.  This is an interesting opinion, we think he’s “partially right”.  Now, let’s give him due credit – Michael Arrington is a very wise man and not a single thing we can say or ever will say will be a better opinion that his.  He is a master debater, attorney, and phenominal writer and he has undoubtedly built a media empire over at TechCrunch – we are avid readers of the site and it’s biased, yet well founded opinions.  That being said, AudioMicro shall attempt to break down Mr. Arrington’s opinion by offering some biased points of our own.

For the past 12 years or so, music has already been free (free if you want to “steal” it, that is).  Therefore, the notion that music “will be free” seems to be stating the obvious.  Anyone with half a brain and an internet connection for the past 12 years has been able to get any song and any album from the file sharing services and this rapid theft shows no slowdown as services like BitTorrent are more popular than ever.

Just as music is already free to those who choose to steal is, so is every single other type of digital content, including software, photography, movies, books, and journalism.  If it’s not free through outright piracy, the content is free through a promotion, trial, hack, torrent, or business model (e.g. a startup company that has realized that they can take market share – aka shrink markets – by offering content for free where the larger, more established players make you pay for it).

Journalism (aka “The News”) is already free, on the internet at least.  Nobody in their right mind should pay to read internet news / blogs and nobody does pay for these services (at least nobody under age 40 that’s aware of “free content”).  News outlets simply offer a product for free (news and opinions and quite oftern opinions disguised as news) and then sell advertising across the content to support the business.  Perhaps it is just plain obvious that a blogger would advocate that music should “really be free, yet ad supported” is because that is the model that they already operate their businesses under – giving the content away for free and slapping advertising all over it.

So why do people pay for still pay for content when it’s already free and the ramifications of copyright infringement are so small and unenforcable to outweigh the benefits of saving money and getting the product you desire?  Why is the photography licensing industry a $2 billion industry if photos are free through creative commons licenses?  How does Warner Music Group (WMG), even in an awful stock market, maintain a market capitalization of $571 million (as of the time of this post)?  How is this possible if WMG is doomed to be a “musical advertisement”.  Clearly, people still do pay for music and they will continue to pay for music, but why?

When it comes to personal use music, AudioMicro feels that Arrington is certainly onto something; however, when it comes to commercial use, we know that people are paying for music, and appropriately securing synchronization rights for music used in their audio-visual projects.  Sync licensing is the nature of our business here at AudioMicro, and we continue to see increased revenues from the licensing of music for commercial use.  Performance and Synchronization are the two areas that seem to be immune to any attack of “free music”.  AudioMicro is a business built upon the fundamentals that stealing (or making unauthorized use of) digital content is not the right thing to do and that nobody benefits from piracy.

Contrary to personal use music sites that can be ad supported, it’s difficult, if not impossible, to place advertisements within music used for commercial purposes.  You can make television free, yet ad supported by forcing users to watch advertisements and you can even give photos away through ad supported models like PicApp; however, you can not just give music away and run an advertisement over it and you certainly cannot place music containing advertisements into a films, animations, podcasts, websites, or other video productions.  If you are an artist worried about the decline in personal use music revenues as a result of free, yet ad supported music models emerging, we encourage you to join the growing crowd of micro stock music artists here at AudioMicro that are earning cash from sync fees and the attachment of music to a growing variety of visual media.

Adding music will attract 100% more viewers to your online videos.

Here is a YouTube video we randomly pulled today called “scacchi clay stop motion – chess clay stop motion”.  This video has close to 250,000 views on YouTube, undoubtedly earning rev share money for it’s creator.   It’s a great example of how the music makes the video (or phrased a better way, the music is at least 50% of the entertainment value of this video or more).  Wonder if they legally licensed this track?  Likely so as it came from the YouTube music libary that allows you to overlay certain public domain tracks.  The popularity of videos like this one serve as a powerful reminder of the entertainment value of music when pared with a visual production and the need for a viable outlet for appropriately securing sync licenses for consumer generated videos such as those on YouTube.

For anyone concerned about selling their music on AudioMicro.com…

I’m a successful songwriter/composer who recently found out about AudioMicro, and became so enamored with the concept that I now am their Artist Recruiting Manager. In the past few weeks I’ve been talking to a lot of fellow musicians about AudioMicro, and the micro stock platform in general. There seems to be some mixed feelings and some misunderstandings about how artists fit into the whole micro stock picture.

For those who aren’t fully aware of the concept, micro stock simply means that the content (in this case audio/music) is crowd sourced – meaning ANYONE can submit content – and it’s sold for prices starting at $1 (in this case it’s $1 per minute of music). A few of my composer friends who make some decent money selling tracks for $30 or so in the royalty free space feel that micro stocking audio is going to devalue their music. It’s an understandable point of view, but in my humble opinion, a limited perspective.

See, whenever and wherever anything is sold, there is always the option of spending money on the high-end, or brand name version of the product, or the “generic” version of the product. If you use laundry detergent as an example, there is usually a few dollar difference between Tide and the generic brand, even though the ingredients are EXACTLY the same and we actually feel – sometimes better in the case of crowd sourced content.  Both brands make money and flourish because there will always be a market for both. Some people want to spend more money for the flashy brand, and some just want something that works regardless of the name or package. Sure you may make $30 or more by selling your music on a royalty free basis, but can it hurt you to open your “product” up to a consumer base that would rather spend less than that? Not at all in my opinion. People will still pay $30 for your music in that world just as fast people will spend a few bucks for your music in the micro stock world. You’re basically just opening up your customer base (the millions that can’t and won’t license audio for $30 a track) and creating new ways to make money by doing it. Not to mention the “theives” out there who only steal music — they’d also gladly pay $1 or 2 for music — it’s the same principle that has made iTunes so successful and has made people forget about scouring the internet for free music.

And above all, its risk free! At least take a handful of your tracks that haven’t ever earned a penny, and stick it up on this site. If you don’t like the way it works, just request to take em down. The artist has 100% ownership of their content and can remove it at any time.

In addition, AudioMicro offers the best royalty rate i’ve ever seen – 50% of every track sold.  As AudioMicro takes off, artists will be in position to make more money than ever before. When this site becomes the one-stop shop for stock audio, its not far fetched to think that many an artist could easily be making hundreds or even thousands of dollars a month, just in micro stock.

I can see how this will be the wave of the future, and as much as some musicians will resist the change, its the natural progression of things. Check out what has happened in the photography world and you’ll be amazed at how easy it is to find content, and how easy it is to make money from your art. Micro stock opens up opportunities for artists that never existed before, and makes it so much easier for those who need to place music in their visual medium. It’s the perfect give and take for both sides – its about as democratic as it gets. I see it as having your cake and eating it too – continue to sell some of your music for as much as you can. Take advantage of the high end and also upon up your content to an entirely new class of customer with micro stock. But while you’re plcaing tracks directly with high end customers you can put the rest of your stuff here on AudioMicro and make some extra money on the side and get a feel for the ease in which the micro stock concept works – for everyones benefit. We see some folks making over $100k per year in royalties in the micro stock photo realm and there’s no reason why this can’t be the case in the music space, which is actually a larger market than photos. It will just take some time for the concept to take off, but being there ahead of the curve will give you a huge advantage.

Thats my two cents. I’ve looked at other stock music sites, and AudioMicro is by far the most artist friendly, easiest to navigate, and the music upload process is a breeze. Not to mention that other sites offer only a measly 20% royalty rate or the ones that want you to “share your content for free” under a creative commons license or some other format. I applaud AudioMicro for seeing the future and trying to make sure that artists out there are well aware of the new market shift ahead of the curve and we encourage artists to jump on board and take advantage of the revolution rather than being resistant and scared of it.

Sincerely,

Gideon Black, Artist Recruiting Manager
www.audiomicro.com
Los Angeles, CA

(818) 651-6311