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“For time-poor music supervisors the appeal is consistently being able to provide great, affordable songs without any clearance headaches” Normally it’s a lot easier to clear the master rights, as there is often only one party who controls them, where as there can be many songwriters which can complicate the clearing of the publishing rights.

When our supervisor contacts the songwriters or their publisher to clear the publishing rights, either they are able to clear the master rights also (one stop), or they are able to point them in the right direction of their label (or whoever else may own the master rights), in order for them to be cleared also. This saves them having to do extra research and if they are on a tight deadline (like the poor soul in our example), there needs to be swift cooperation between themselves and the rights holders, in order for the piece of music to get to the editor in time for it to be edited into the film. The writers of the song have correctly detailed the share of the song that they own (including if they have a music publisher and what share they take), so it’s clear who the supervisor has to contact to clear the publishing rights. (Examples of PRO’s include PRS, ASCAP, BMI, GEMMA etc). Our music supervisor heads over the Performing Rights Organisation’s (PRO’s) website to see who holds the publishing rights. What is the IDEAL situation for the music supervisor here?

They are on a really tight deadline because the director has given them 2 weeks to find the perfect piece of music for an action-packed scene, with Tom Cruise whisking Cameron Diaz to safety on the back of his motorbike, fleeing from the Italian Mafia shooting at them on the streets of Rome.Īs luck would have it, they hear the perfect song on the radio and it has the lot great build, driving drums, screeching guitars and booming bass, with a vocalist who has the range and dynamism of Steven Tyler. So picture this… a music supervisor is licensing all of the music for an up and coming Hollywood blockbuster. You may have heard the terms “one stop” or “easy clear” if you’ve had a piece of your music licensed before, but if you haven’t (or if you have and you aren’t exactly sure what these terms mean), this article should clear up what “easy clearance” is all about and why it could be really important in increasing the amount of syncs you get! “ ONE STOP” – If a piece of music is a “one stop” clearance, it means someone who is trying to licence a track only has to contact one party to clear both the Master and Publishing Rights. (Normally the Record Label for the Master Rights and the Publisher for the Publishing Rights) “ EASY CLEAR” – If a piece of music is “easy clear”, it means that someone who is trying to licence a track will only have to contact two or less parties to clear the Master and Publishing Rights. “ LICENCE” – To licence a piece of music means to have a written agreement stating a licensee has permission to use that work in a project.

“ CLEARANCE” – Clearance refers to getting permission from both the Master Rights holder and Publishing Rights holder of a piece of music, to then use it in a project. First of all, let’s explain some of the jargon words that you might find when reading anything about music clearance, so you don’t get tripped up when you see them throughout the rest of this article: