There are several guides to the Blanket Licences, the system TV companies in the U.K. use to licence music for their programmes. For the very best of reasons they try to impose some sort of order on an area of labyrinthine complexity. (One of these reasons is to avoid going on and on… which the following explication does rather).
The first question we are asked is often, ‘How much does music supervision cost?’ The answer here at TSM is, ‘it depends on how much work is involved.’ We offer a top to tail service but it’s possible to break it down into sections and have us take care of a single aspect of the process or even licence just one particularly tricky title.
For a newcomer to the business, working out how to legitimately incorporate music in a film can be a bit confusing. This page will attempt to make it a little less confusing. But not straight away and not completely.
The question we are asked most frequently usually begins with “How much..?”. Unfortunately there isn’t a simple answer when it comes to the tracks you already know and love. Unless it’s music that has been specifically composed and recorded for film or TV use (usually called Production Music) there isn’t such a thing as a rate card. In each instance a quote must be obtained.
These were notes to accompany a lecture given at a seminar in 2009. They are quite condensed and try to cover a vast topic in a short time. Taking into account the natural generosity of copyright and licensing experts the facts contained herein are substantially correct.
When you licence music for a film the right to include it on a soundtrack album isn’t included. This is partly because, like using music in an advertisement or trailer or using the title of a song as the title of your film, it would be considered an additional use and attract an additional payment.