Hacking Music, The Habits of Headliners Mod 11: SYNC, SUPERVISION AND CLEARANCE

Talent is what you
DO with the gift.
Pat Metheny
3

MOD 11 - SYNC, SUPERVISION AND CLEARANCE
1. CHECKERS OR CHESS
2. WHY MUSIC IS VALUABLE
3. DAWSONS CREEK TO NOW
4. WHAT IS A SYNC?
5. WHO’S WHO IN THE ZOO?
6. SYNC HABITS
7. 20 QUESTIONS DOC
8. SYNC TEAR DOWN: SHOWTIME LICENSE
9. SYNC 101 - ESSENTIAL SYNC TERMS
10. IQ POINTS & ACTION ITEMS:
1. SYNC DATABASE
2. BLANK SYNC AGREEMENT TEMPLATE

Section 1:
CHECKERS OR CHESS
6

Checkers or Chess
– Players
– Rules
– Roles, Powers
– Lay of the Land
– How to Win
Checkers
or Chess?

Data
– Apple TV+ spending more than $6 billion on new shows
– Netflix Inc. spent $13 billion on original content last year,
• Eyeing Total of About 700 Original Series in 2018
– Netflix, Amazon.com Inc., Hulu and Apple Inc. are collectively
spending $20 billion this year on content.
– In 2020, there were 537 online TV shows produced compared
with 381 in 2019.
– Global video gaming revenue hit $43.8 billion in 2018
• that surpasses both the $41.7 billion movie box office and
$28.8 billion generated TV streaming services.
Checkers
or Chess?

Section 2:
WHY MUSIC IS
VALUABLE
9

KNOWN
UNKNOWN
LEVERAGE
NO LEVERAGE
Why Music
is Valuable

Section 3:
DAWSONS CREEK
TO NOW
11

A few clients: Microsoft, Toyota, Maker
Studios C-Low Green, Buick, Walt Disney,
Showtime, Netflix, Carol King, Kesha,
CNN, Fall Out Boy, The Final Four,
Continental Tires, Dawsons Creek, AT&T,
Dancing With The Stars etc.
13
Dawson’s Creek
To Now

The Sync Center is a full-service music supervision and
licensing company that has managed projects for
hundreds of clients including national and global brands,
agencies and cultural events. Trusted by Fortune 50
companies, filmmakers, advertisers, networks, brand
agencies, YouTubers and major film studios.
14
Dawson’s Creek
To Now

RERECORDR
15
Dawson’s Creek
To Now

Anytime music is
attached to moving
pictures a sync
license is needed.
What is
A Sync?

A legal agreement that
includes all the details for
a specific song being used,
and grants the legal right
to use the song.
What is
A Sync?

MASTER
RECORDING
SONG
Both Sides of
a Copyright

℗
(C)
Both Sides of
a Copyright

℗
(C)
Both Sides of
a Copyright
7%
8%
10%
11%
29%
35%
100%

Section 5:
WHO’S WHO IN THE ZOO
24

Music Middle Money
Role
Artists,
Composers
Publishers
Labels
Libraries
Supervisors,
Clearance Agents,
Pluggers
Filmmakers
Networks
Brands
Ad Executives
Corporate Events
Sporting Events
Pain
More Opportunities,
Relationships,
$$$
Time,
Deadlines,
Budgets
Liability
Access to Artists/Rights-holders
Want Great Music
Production Schedules
Air Dates
Dont Know What They Don’t
Know
Value
World Class Music
You Own, Control IP
YES/NO
Expertise,
Relationships,
Reduce Liability
We Write the Checks

Sync Habits:
1. Get your House in Order
2. People are Everything
3. Give
Sync
Habits

Habit 1: Get your House in Order
1. Stems
2. Tools
3. Agreements
4. Legal Done Right
5. Email List
6. Celebrate Wins
7. Build Moats
Sync
Habits

Habit 2: People are Everything
1. Humans First
2. Cheese>Whiskers, Know - Like - Trust
3. Filmmakers are Everywhere
4. Dream 100
1. Connect Vertically (Supervisors)
1. Ask Daily
2. Connect Horizontally (Collaborators)
Sync
Habits

Habit 3: Give
1. Offer to Help
2. Support Others Wins
3. Offer to do one for Free
Sync
Habits

Section 7:
20 QUESTIONS DOC
31

SYNC MEMO QUERY Date:
5/17/20
Prepared by: Geoff Sanderson
geoff@jetpackartistventures.com
SONG
Songwriter(s)
Recording Artist
Publisher(s)
Label
Recording used
Duration of Music (to be
used)
Description of Song Use
Web Link(s)
Featured/Background
Licensee
Production Name
Media
Length of Production
Project Synopsis
Distributor
Term
Territory / Region
Release / Air Date
Film Budget
Music Budget
Song Query Offer Price
Payee
Company
Payee Address
Payee Phone
Payee Email
20 Questions
Doc

SYNC MEMO QUERY Date:
5/17/20
Prepared by: Geoff Sanderson
geoff@jetpackartistventures.com
SONG
Songwriter(s)
Recording Artist
Publisher(s)
Label
Recording used
used)
Web Link(s)
Featured/Background
Licensee
Production Name
Media
20 Questions
Doc

used)
Web Link(s)
Featured/Background
Licensee
Production Name
Media
Project Synopsis
Distributor
Term
Territory / Region
Release / Air Date
Film Budget
Music Budget
Payee
20 Questions
Doc

Project Synopsis
Distributor
Term
Territory / Region
Release / Air Date
Film Budget
Music Budget
Payee
Company
Payee Address
Payee Phone
Payee Email
20 Questions
Doc

Synchronization Request Form
Song Title State the title of the song you would like to license.
Songwriter(s) Names of the song’s writer(s) – not the artist performing the
song.
Publisher(s) Names of all publishers associated with the song – see
ascap.com and bmi.com for this information.
Licensee Name of the person or entity that is seeking to license the song.
I.e., whoever will be paying.
Production Name State the name of the production – typically the title of a film or
video project or the name of a TV show.
Media Describe the media you plan on using to show your project –
some examples include film festivals, TV, video, radio, Internet.
If you are producing videos or DVDs, please list the number of
copies you plan to produce and the price the DVD will be sold
for. If your media is going to be shown at a trade show or other
such gathering, how many attendees will be present during the
showing.
Length of Production Timing of entire film, episode, video, etc.
Project Synopsis Describe the entire project.
Description of Use Describe the scene in which you would like to use the song you
are requesting. Please be as specific as possible. If you need
more space, please feel free to attach further documentation
explaining the details of the use. If you are requesting multiple
uses, please indicate as such and provide all scene
descriptions.
Featured/Backgroun
d
Is the song being sung by one of your characters? Is it playing
without any voiceover? That is likely a featured use. If, however,
a song is playing in the background at low volume with narration
over the top, that is likely a background use.
Recording Which recording are you planning on using? Are you planning on
using the master recording? The master recording is typically
the original recording that you would find on a CD. In that case,
please provide the name of the artist that performed the version
of the song you would like to license as well as the title of the
CD where the version can be found. Please indicate also if you
have secured a master use license for this request. If you are
planning on doing a re-record of the song with your own
musicians, simply state that you would like to re-record.
Duration of Music State the length of the music use in your project. If you are
requesting multiple uses, state the length of each separately.
For example, if you would like to use a 17 second clip of the
song in the middle of your project and a 1 minute clip later on in
the project, you would state the following – 0:17, 1:00
Term State how long you would like to license the song for your
project. Licenses for film festivals are generally issued for a
term of one (1) year.
Territory State where you would like the rights to use music in your
project. If your project will only screen in a particular city or at a
20 Questions
Doc

Synchronization Request Form
Song Title State the title of the song you would like to license.
Songwriter(s) Names of the song’s writer(s) – not the artist performing the
song.
Publisher(s) Names of all publishers associated with the song – see
ascap.com and bmi.com for this information.
Licensee Name of the person or entity that is seeking to license the song.
I.e., whoever will be paying.
Production Name State the name of the production – typically the title of a film or
video project or the name of a TV show.
Media Describe the media you plan on using to show your project –
some examples include film festivals, TV, video, radio, Internet.
If you are producing videos or DVDs, please list the number of
copies you plan to produce and the price the DVD will be sold
for. If your media is going to be shown at a trade show or other
such gathering, how many attendees will be present during the
showing.
Length of Production Timing of entire film, episode, video, etc.
Project Synopsis Describe the entire project.
Description of Use Describe the scene in which you would like to use the song you
are requesting. Please be as specific as possible. If you need
more space, please feel free to attach further documentation
explaining the details of the use. If you are requesting multiple
uses, please indicate as such and provide all scene
descriptions.
Featured/Backgroun
d
20 Questions
Doc

Featured/Backgroun
d
Recording Which recording are you planning on using? Are you planning on
using the master recording? The master recording is typically
the original recording that you would ﬁnd on a CD. In that case,
please provide the name of the artist that performed the version
of the song you would like to license as well as the title of the
CD where the version can be found. Please indicate also if you
have secured a master use license for this request. If you are
planning on doing a re-record of the song with your own
musicians, simply state that you would like to re-record.
Duration of Music State the length of the music use in your project. If you are
requesting multiple uses, state the length of each separately.
For example, if you would like to use a 17 second clip of the
song in the middle of your project and a 1 minute clip later on in
the project, you would state the following – 0:17, 1:00
Term State how long you would like to license the song for your
project. Licenses for ﬁlm festivals are generally issued for a
term of one (1) year.
Territory State where you would like the rights to use music in your
project. If your project will only screen in a particular city or at a
particular festival, explain that here. If you would like to secure
20 Questions
Doc

rights to show the project anywhere in the world, simply write
world. Similarly, if your project will screen at theaters all over the
USA but nowhere outside the country, write USA.
Release / Air Date State the date your project will be released or first aired. If you
do not know the exact date, please estimate to the best of your
ability.
Options If you would like the option to purchase additional rights in the
future, explain that here. For example, some producers license
songs for a term of 1 year with an option to extend that term for
an additional 6 months. Right before the term of the original
license expires, the producer may exercise the option and
receive rights for an additional 6 months at a fee that was
already negotiated at the time of the original license. This saves
the producer the time of having to renegotiate rights in order to
continue using a song in a project.
Budget State your total film budget as well as your music budget.
Other Please use this space to provide any additional information you
think we may need to process your license. I.e., a list of all
songs in the film, which have already been approved, etc.
20 Questions
Doc

Section 8:
SYNC TEAR DOWN:
SHOWTIME LICENSE
40

SYNC MEMO QUERY
Date: 12/4/20
Prepared by: John Pisciotta
SongTitle
"(There's No Place Like) Home for the Holidays"
Songwriter(s) Music by: Robert Allen, Lyrics by: Al Stillman
Recording Artist NA
Publisher(s) Reservoir o/b/o Charlie Deitcher Productions +
Label NA
Recording used Re-record
Duration of Music Full Song
Description of Song Use Workers will be playing along with the song
Viewable Video Link(s) NA
Featured/Background Feature
Licensee Lee Ann Adams Mikeman | Leidos
Chief of Staff | Communications & Marketing
Production Name Corporate “end of year” review video
Media Internal co intranet video, w/ 5 additional social media: Facebook,
YouTube, LinkedIn, Twitter, and Instagram
Length of Production 2:26
Project Synopsis Corporate “end of year” review video, hosted by company CEO to “uplift” the
spirit of the companies, 37,000 Global employees.
Distributor NA
Term 1 Year
Territory / Region Global
Release / Air Date Dec. 16th
Song Query Offer Price $10,000 (All In) To be split between publishers
Payee leidos.com
Company
Lee Ann Adams Mikeman | Leidos
Sync
Tear Down

SYNC MEMO QUERY
Date: 12/4/20
Prepared by: John Pisciotta
SongTitle
"(There's No Place Like) Home for the Holidays"
Songwriter(s) Music by: Robert Allen, Lyrics by: Al Stillman
Recording Artist NA
Publisher(s) Reservoir o/b/o Charlie Deitcher Productions +
Label NA
Recording used Re-record
Sync
Tear Down

Production Name Corporate “end of year” review video
Media Internal co intranet video, w/ 5 additional social media: Facebook,
YouTube, LinkedIn, Twitter, and Instagram
Length of Production 2:26
Project Synopsis Corporate “end of year” review video, hosted by company CEO to “uplift” the
spirit of the companies, 37,000 Global employees.
Distributor NA
Term 1 Year
Territory / Region Global
Release / Air Date Dec. 16th
Song Query Offer Price $10,000 (All In) To be split between publishers
Sync
Tear Down

Section 9:
SYNC 101 - ESSENTIAL
SYNC TERMS
44

! Administrator - The entity
responsible for managing a piece of
music. This can be the publisher or the
record label or someone appointed or
assigned by either of the two.
45
Sync 101
Terms

! Air Date - The scheduled live date
of a project.
46
Sync 101
Terms

! All In - When both the sound
recording (master rights) fee and the
song (publishing rights) fees are
combined into one “all in” fee for sync
licensing a song.
47
Sync 101
Terms

! Assignment of Copyright - When
the ownership of a copyright is
transferred from one party to another.
Assignment must be in writing.
48
Sync 101
Terms

! Audio/Visual Work - The term for
film, television, or any other visual
production.
49
Sync 101
Terms

! Blanket license - A license which
gives a user permission to use all of
the songs in a Performing Rights
Organizations (PROs) repertoire for a
set annual fee.
50
Sync 101
Terms

! Bumper - Originally used in radio
broadcasts, a “bumper” is a short
piece of music (often signature or
theme music) that is used to transition
between two scenes or segments in an
audio-visual production.
51
Sync 101
Terms

! Buy-out, When a piece of music is
purchased once, and need not be paid
for again, ever.
52
Sync 101
Terms

! Consent Decree - issued by the U.S.
Department of Justice (DOJ), this is the
agreement that sets limitations on ASCAP and
BMI to ensure fair access to the PROs repertoire
and is intended to promote competition in the
marketplace for musical works.
53
Sync 101
Terms

! Context - The visual portion of a
film or scene that the piece of music is
being synchronized with. This is a key-
driver in determining sync fees.
54

! Copyright Recapture (aka Reversion) - For
copyrights prior to 1978, when the copyright
was split into two 28 year periods, “copyright
recapture” is the process of recapturing a
copyright starting on the 56th year from when
the copyright was originally registered. This
process terminates the copyright under the
old law and reverts it into the current
copyright law. 55
Sync 101
Terms

! Cue Sheet - Documents which let PROs track
the use of music in film and TV, allowing
composers and publishers to be compensated
for their work. Each time a film or TV show is
completed, a “cue sheet” is prepared, listing all
of the music used in the production, including
composer(s), publisher(s), air date, length and
so on.
56
Sync 101
Terms

! Duration - The length of time a
piece of music is used.
57
Sync 101
Terms

! Ephemeral Use - Ephemeral means temporary. From the early
days of live television, when a guest would begin singing a song
unexpectedly, the producers didn’t want to be liable for licensing
the works. As live recordings were not meant for re-broadcast,
ephemeral use was born. Today, a piece of copywritten material
may be unintentionally broadcast in the background of a program.
As the use is not intentional, nor is any exploitation of that use,
permission from the copyright owner(s) is not required.
58
Sync 101
Terms

! Family Estate - A person’s estate is all of the
property owned by that person at death. A will
dictates where that estate goes. When a family
initiates a family trust (a legal agreement), the assets
within are the “family estate”. A copyright is a type of
property that can be transferred or assigned to a
“family estate”.
59
Sync 101
Terms

! In Perpetuity - The grant of use by contractual
rights to a piece of music synchronized to a
project forever. If a publishing company, record
label or film company is sold to another entity,
all contracted rights follow the song and
recording to the new company.
60
Sync 101
Terms

! Licensee - The entity to which a
license is granted.
61
Sync 101
Terms

! Licensing Agent - An entity,
assigned via a legal document, given
permission to license a piece of music,
on behalf of the owner.
62
Sync 101
Terms

! Licensor - The owner of a piece of
music or work.
63
Sync 101
Terms

! Master Rights Owner - The owner
of the master rights to the sound
recording of a piece of music.
64
Sync 101
Terms

! Master/Sync (Synchronization) License - A sync license
involves both the use of a pre-recorded piece of music and
a previously recorded piece of music recorded by a
different artist (a re-recording). In the first case, a music
license encompasses both sides of the music, the actual
song (publishing) and it’s recording (master). In the second
case, a music license encompasses only the publishing side
of the music.
65
Sync 101
Terms

! Metadata - Vital information added
to a piece of music or work to make it
more searchable and to provide key
details, such as composer, publisher,
genre, labels, etc. to users of the
music.
66
Sync 101
Terms

! Most Favored Nations (aka MFN) - A term borrowed from the United
Nations, in music licensing it can mean; (a) that the publisher(s) and the
master owner(s) will be treated equally and without preference, or (b) that
if a piece of music of similar status to another is licensed at a higher fee
than originally quoted, the user is obligated to pay the higher fee for all
pieces music of similar status. Similar status does not mean that an indie
artist will command the same license fee as a song written and/or recorded
by a superstar artist. Similar status implies equal treatment between artists
in a similar station in their career.
67
Sync 101
Terms

! Music Clearance - The act of obtaining permission to
use a piece of music from the publisher(s) and/or its
master rights holders. “Music clearance” involves a
synchronization license issued by the publisher for the
use of the song/composition, and a master use license
issued by the master rights holder of the specific
recording of the song/composition.
68
Sync 101
Terms

! Music Library - A collection of music
for licensing to a project.
69
Sync 101
Terms

! Music Publisher - An entity that works with
songwriters and composers to promote,
market and pitch the writer’s songs/
compositions. In return for its services, a
publisher will take a percentage of the
publishing half of a song (up to 100%).
70
Sync 101
Terms

! Music Supervisor - A “music supervisor”
chooses pieces of music, and obtains
licensing, for a project, overseeing all of the
creative and business aspects of the music
for that project.
71
Sync 101
Terms

! Offer Price - The price either a
potential licensee offers for a sync
license or a licensor offers to a
potential licensee for the same.
72
Sync 101
Terms

! One Stop - When all the rights to a
piece of music have been cleared for
sync licensing. “One stop” is attractive
to music supervisors and licensees as
they only need to go to one person to
clear the music for usage.
73
Sync 101
Terms

! Pre-cleared Music - When all the
rights to a piece of music have been
cleared in advance. The purchaser of
“pre-cleared music” automatically has
permission to use the music for pre-
specified uses.
74
Sync 101
Terms

! Production Music - Music written
for licensing through a music library.
75
Sync 101
Terms

! Publishing Rights - The underlying
rights to a composition and all the
powers contained within.
76
Sync 101
Terms

! Public Domain (aka PD) - A song is considered in the
“public domain” when all rights have expired, or when the
rights holder(s) put a work into the public domain, or when
the work was never copywritten. As copyrights differ
between countries, a song in the public domain in the United
States may not be in the public domain in the United
Kingdom, as virtually every music license’s territory is
“worldwide”.
77
Sync 101
Terms

! Publisher - An entity that controls
and administers the publishing rights
of songwriters and composers.
78
Sync 101
Terms

! Record Label - An entity that
typically pays for and/or facilitates the
recording and release of a piece of
music.
79
Sync 101
Terms

! Retitling - When a composer offers a piece of
music to multiple music libraries on a non-
exclusive basis, the individual libraries will
“retitle” the music under a different name.
Retitling ensures the proper music library
receives any royalties on the use of the music.
80
Sync 101
Terms

! Samples - A section of someone
else’s music for use in a new
composition. A license from both the
publisher(s) and the master rights
holder(s) are required to use a sample
in a new composition.
81
Sync 101
Terms

! Score Music (aka Score) - Original music that is
composed specifically to accompany a film or other
audio-visual project. A “score” is typically done as a
“work for hire” by a composer, but a smaller up-front
payment coupled with retention of a percentage of
the publishing and/or masters is common in the indie
film market.
82
Sync 101
Terms

! Sound Recording - A recording of a musical work that is
owned by, paid for, and facilitated by, the master rights
holder(s). The copyright to a “sound recording” is for
everything you hear. For a major label artist, this copyright
is generally wholly owned by the record label, but for
independent artists, this may belong to the artist/band.
83
Sync 101
Terms

! Sync Query - A document which
details all of the information required
by a licensor to issue a sync license.
84
Sync 101
Terms

! Sync Use - A music licensing term
used to note that the piece of music
can only be used in a specific portion
of a production (this includes any
trailers the scene may be used in).
85
Sync 101
Terms

! Temp Music - Music that a director
may temporarily place in into a film or
TV show before the composition or
selection of the actual music.
86
Sync 101
Terms

! Territory - Where the license is
applicable and which laws the license
is subject to.
87
Sync 101
Terms

! Term - The amount of time a license
is valid for.
88
Sync 101
Terms

! Work for Hire (aka Work Made for Hire) -
When a composer is paid an up-front, or
other negotiated fee, for writing music,
which becomes the property of the
employer. This most often applies to the
music written by the score composer.
89
Sync 101
Terms

! Work on Spec - Composition of a
piece of music without a guarantee
that it will be used. If the person who
commissions the music likes the music
written, the composer receives some
form of compensation.
90
Sync 101
Terms

! Gratis - Use granted that is with no
cost.
91
Sync 101
Terms

Module 1: LAYING THE FOUNDATION
• Section 1: Your Brand Words
• Section 2: Know Thyself (Your Superpower)
• Section 3: The Artist Audit
• Section 4: 3 Gears
• Section 5: The Entertainment Ecosystem
• Section 6: Content vs. Platform
• Section 7: Time - Talent Matrix
• Section 8: Strategy And Tactics

Module 2: ARTIST AS HACKER
1. Forgiveness > Permission
2. Team > Talent
3. Missionaries > Mercenaries
4. Different > Good
5. Future > Nostalgia
6. The Third Way
7. The Cupcake Hack
8. The KPI Hack: The Power Of Measuring
9. Resourcefulness Beats Resources
10. Fight Beats Want

MODULE 3: Creative Differentiation
1. THE AGILE ARTIST: THE ARTIST OF THE FUTURE
2. SWOT MATRIX: TELLING YOURSELF THE TRUTH
3. RED OCEANS VS. BLUE OCEANS: BECOMING
AN ORIGINAL
4. THE E.R.R.C. FRAMEWORK
5. CASE STUDY: Journey’s Answers
6. GETTING YOU TO A BLUE OCEAN

MODULE 4: Super Teams
1. Superpowers and
Kryptonite
2. Leaders and Feeders
3. Cheese and Whiskers
4. 3 Gears
5. Multipliers Habit
6. The Dream 100
7. P.A.I.E. Method
8. Mind-hive - Your
Board of Directors
9. ALLIES
10. ACTION ITEMS

Module 5: RECORD LABEL MODEL CANVAS
1. Labels as Venture Capital
2. Fixed or Growth Mindset
3. Both Sides of a Copyright
4. Why Mental Models Matter
5. Doing Deals - Leverage?
6. The Record Label Model Canvas

Module 5: RECORD LABEL MODEL CANVAS
1. YouTube as a Label
2. Publisher as a Label
3. Artist Services Model
4. Producer Label Model
5. Upstreaming Model
6. Motown Label Model
7. Joint-Venture Model
8. Artist-Owned Model
9. 360 Multi-Rights Model
10. Mega Model

MODULE 6: TACTICAL SH-T!
1. Point your Mind in the
Direction You Want to Go
2. You Are a Project
3. Bursts, Sprints & Marathons
4. Gamification
5. Edison Habit
1. The Theta Tool
2. Bedtime Hack
6. SHVT Tool
7. TimeBoxing
8. The Coppola
Principle
9. Bowling Hack
10. Action Items

MODULE 7: LEAN MUSIC METHOD
1. Everything Is A Project
2. The Tarantino Habit
3. Waterfall Artists vs
Lean Artists
4. WHAT IS LEAN MUSIC?
5. The 3 Components Of
Lean Music
6. Enter Kanban
7. Wips, Logs & Lanes
KANBAN TERMS
8. Slice & Dice
9. Bucketing and
Sequencing
10. Swim Lanes
11. Left to Right
12. Action Items

MOD 8 - SUPERSONGS
1. ON SONGS
2. SONGS AND TARGETS
3. WHAT ARE SUPERSONGS?
4. THE SONG STICKINESS MATRIX
5. CASE STUDY: JOURNEY’S SUPERSONGS
6. HOW TO WRITE MORE SUPERSONGS?
1. Writing FROM a concept or writing TO a concept
2. Titling, The “Dulaney” Principal
3. The “Zappa” Principle
7. HOW TO KEEP ‘GOOD’ SONGS OF ‘GREAT’ RECORDINGS?
1. The 80/20 Rule

MOD 9: MUSIC PUBLISHING MODEL CANVAS
1. BOTH SIDES OF A COPYRIGHT
2. Undestanding Revenue Cycles
3. ARTIST REVENUE MODEL CANVAS
4. The Publishing Roadmap
5. Doing Deals
6. The Music Publishing Model Canvas
7. 10 MUSIC PUBLISHING BUSINESS MODELS
1. Self-Publishing
2. Single Song
3. Co-Venture Publishing
4. Traditional Publishing
5. Co-Publishing

MOD 9: MUSIC PUBLISHING MODEL CANVAS
6. Upstreaming
7. Administration
8. Income Participation
9. Catalog Representation
10. Music Library
11. YOUR Pub. Roadmap

Hacking Music, The Habits of Headliners Mod 11: SYNC, SUPERVISION AND CLEARANCE

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