Music copyrights.
Music rights negotiation:
find out what we can do for you!
Do you wish to use a famous music track from the international repertoire?
We offer you a complete assistance music service on music rights management: from the search for the rights holders to the negotiation of the music license, in a short time at the best terms and conditions.
And if obtaining the license turned out to be impossible, we'll offer you alternative music tracks, “in the style of”, cover versions, reinterpretations.
Don't wait until the very last moment to choose the music for your project. Define with us, from the start, a planning of the music rights that befits your buget and timetable.
Rely on Machiavelli Music for a rock-solid stance on music copyright!
ALL YOUR MUSIC COPYRIGHT CONCERNS
From the website of Sole 24 ore:
Ten clichés about music rights
To explore the topic of music rights for corporate applications. Nòva has compiled a list of ten clichés. We asked Pietro Giola of Machiavelli Music to debunk them, one by one.
Is all classical music free? If the authors are all in the public domain, can I use whatever I want?
Classical music is not the same as saying public domain (i.e., author who has been dead for more than 70 years). For example, Stravinsky-who in common canons falls under "classical" music is still under protection (he died in 1971). However, even if an author is in the public domain (e.g. Mozart) a royalty must be paid to the owner of the recording who has invested money and time to make it by convening musicians, paying performers, recording studios, and sound engineers. So he, too, must be paid a fee for what are called precisely "master rights." Ditto for any processing of public domain pieces where a modern composer has perhaps twisted a Mozart piece so that his own reworking is recognized as a genuine new piece, albeit from the late Wolfgang Amadeus.
Even a single bar cannot be used in any commercial context without a specific usage release. It's a complete urban legend!
Regardless, it is still considered commercial use, whether a video is projected internally within the company or especially at a convention, where music is used to engage the audience and attract more attention. The high economic value of a convention, often attended by thousands of delegates, should also be considered. Moreover, certain product categories or commercial brands may not release releases due to issues of moral rights (e.g., petroleum products, alcoholic beverages, political parties, hygiene and healthcare products).
The only right acquired through the purchase of a CD or audio file (e.g., iTunes) is the right to privately listen to the CD. If I want to use even a single second of music for commercial purposes, I must always fulfill the editorial synchronization and master rights.
Even if I have created a version and hold all the rights (in this case, master rights), I still need to obtain synchronization rights from the authors/composers/publishers of the music (editorial rights). If they deny usage, I cannot use the recording.
False. Permissions must always be obtained from the rights holders, even if they are willing to provide it for free (which may happen if it is formally declared and demonstrated that the entire project is undertaken by all participants at zero cost).
This is an unauthorized commercial use without a specific release. Additionally, music choices in advertising are usually made to add value to the advertising message, enhancing its memorability.
No. The duration of copyright is 70 years from the end of the calendar year in which the author died. In the case of works written by multiple authors, the death date of the last author is used as the calculation base.
If the video is broadcast in public spaces (events, public squares, fairs, conventions, points of sale, etc.), a public performance license must be requested from SIAE (and, if abroad, from its respective national associates). If the broadcast is on television networks and usage has been granted by the music rights holder, these rights will be paid by the networks to SIAE based on annual agreements.
No, the SIAE stamp is only the last link in the rights clearance chain. Synchronization (editorial and master) and duplication rights must always be fulfilled first. The stamp is also necessary only for products distributed in Italy. If a video is created in Italy, duplicated, and distributed only abroad, the stamp is not required (but synchronization and reproduction rights must still be fulfilled).
In general, a musical composition is considered public domain when the composer has been deceased for over 70 years.
Absolutely not. As explained earlier, payment is always required for the master recording, even if the composition is in the public domain.
Some people believe that using only a few seconds of music (e.g., 5" or 10") is permissible under fair use and therefore free and not subject to any copyright payment. This is not true. Any use of music, even for a few seconds, requires formal authorization from rights holders, who will decide whether to allow usage and, if so, set the license fee.
No, prior authorization is always required from rights holders. In any case, a specific license is required for both for-profit and non-profit projects. Additionally, it is important to note that some non-profit projects are supported by high-profile brands that use these projects for their communication, so proper music authorization and synchronization licensing are necessary.
No, it is not possible. This is considered commercial use because the music is used to enhance the value and atmosphere of the event. A license must be obtained for the use of classical pieces for this purpose, including synchronization during video, intros, breaks, and entrances.
