Sync fees, royalties, UGC, neighbouring rights, advances — and what a good publisher should be doing about all of them. In the previous article, we talked about the gardener mindset: the calm, patient, long-game approach to a library composing career. This post is about something more practical: where the money actually comes from once that

Before we start, a quick warning. This post is going to lean heavily on a few well-worn quotes and concepts. Consider this your official Floskel Warning. We’re going to borrow wisdom from Tony Robbins on taking intentional action, Bruce Lee on mastering your craft, Seth Godin on consistency over authenticity, and the classic mantra: “Go

Every music cue in a film or TV production is assigned a usage code on its cue sheet—Background, Visual/Featured, Theme, or Logo. That code directly affects how much you get paid. Diegetic vs. non-diegetic is a creative distinction; the usage code is a financial one. Understanding the difference can protect your income. In our previous

I.  Introduction Music copyright is an often misunderstood and complex area of law. It plays a vital role in ensuring creative individuals or entities are compensated for their work. The terms ‘authorship’ and ‘ownership’ are two crucial elements within this framework. While they may seem synonymous, they have distinctive implications. This blog post aims to