In LA – Digital Music Rights Deal Mock Negotiation

With major changes in the digital music licensing landscape, the need for a clear road map when making a deal is needed now more than ever.

Especially important are the distinctions between digital-only deals (where in many cases companies may represent themselves as labels but are in fact only modified music libraries) vs. actual record deals. Both have advantages.

Advantages of each type of deal will be discussed at this NARIP program, and our experts will explain what you need to know. They will then face off in a live mock negotiation of key deal points and contractual issues that affect a rights holder’s options and income.

Get the inside track on major deal points, what they mean and what leverage you have to negotiate the best possible deal. Also to be discussed: the pros and cons of some of the major digital music services.

Most people think they can just hand a negotiation to a lawyer, and leave it at that. But as a professional, you need to be aware of the process and deal points, too, and what the short- and long-term implications to your artists’ careers may be.

Most importantly, you will see HOW a digital music license deal is negotiated and be involved in the process.

Get educated about the art of deal-making!

YOU WILL LEARN

• Important deal points including ancillary rights, royalty rates for mobile, digital downloads, and interactive streaming services.
• Rights and revenue streams typically included
• What parties enter into digital music license deals?
• Difference between a digital-only deal and a record agreement
• Ancillary rights
• Calculation of royalties and basic revenue-sharing structures: % net, % retail, wholesale vs. retail, “PPD”, “Penny rate”
• Rate, term, marketing guarantees, channel control, guaranteed release
• Fee ranges for various services
• New business models
• The right time to make a deal
• Deals for developing artists

Sample agreement provided.

WHO SHOULD ATTEND

Music Publishing & Record Executives

Music Library Reps

Producers, Artists, Artist Managers and Artist Reps

Music Attorneys, Songwriters & Composers

Brand Marketing & Creative Executives
Accountants, Business Managers & CPAs

SPECIAL GUEST SPEAKERS (scroll down for speaker profiles)

Dean Serwin, Esq., Music & Entertainment Attorney
Andrew Koski, MBA, Partner, Miller Kaplan, Licensing & Royalties

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TWEET ABOUT OUR SPEAKERS & EVENT

• @NARIP
• @tesstaylor

WHEN

Wednesday, September 18, 2013

6:30 p.m. – Registration opens

7:00 p.m. – Program begins

9:30 p.m. – Program ends

WHERE


Miller Kaplan

4123 Lankershim Boulevard

3rd Floor Conference Room

N. Hollywood, CA 91602

Click here for map.

PARKING

Free and metered street parking (be sure to read posted signs) and in Miller Kaplan lot behind building.

COST

$20 for NARIP members

$40 for Non-members

$75 MCLE (2.5 credits)

BONUS

Because you are registering for this program, we offer you the opportunity to pre-order the MP3 recording of the program for only $20 (regularly $39.95). This will also include digital copies of documents distributed at the program. This program will cover a great deal of information, and so you won’t have to worry about taking notes! To pre-order now, select the Premium Ticket option below, the mastered recording will be emailed to you within 2-3 weeks after our program (if not sooner).

PAYMENT METHODS

1. Online (just scroll down) using PayPal or any major credit card (you need not be a PayPal member)
2. Call 818-769-7007 with credit card
3. Walk-up if space permits. NARIP events sell out, advance registration is recommended.

No refunds, all ticket sales final. We appreciate your cooperation.

QUESTIONS?

Call 818-769-7007 or contact NARIP

SOURCES FOR MORE INFORMATION

Miller Kaplan

42 Revenue Streams

NARIP

ABOUT THE SPEAKERS

Dean Serwin, Esq.
Music & Entertainment Attorney


A graduate of UCLA Law School who began his practice of law in 1990, Dean Serwin works primarily in the entertainment industry. His experience prior to establishing his private practice included working for a sole practitioner with several platinum artists, as head of legal for a film and TV production and distribution, and positions at the Director’s Guild of America, BMI and Capitol Records. Dean has lectured extensively for groups ranging from Art Center film students to Harvard MBA’s and from California Lawyers for the Arts conferences to The Learning Annex. Dean’s Hollywood, CA based solo law practice began in 1994 and serves clients in all areas of the music, film, video, TV, internet and distribution businesses including record labels; music publishers; recordings artists; songwriters; music, television and film producers; managers; television, film and internet production and distribution companies; business executives and consultants; authors, clothing companies, as well as others involved within the entertainment industry. .

Andrew Koski, MBA
Partner, Miller Kaplan, Licensing & Royalties


Andrew Koski is a partner specializing in royalty and participation inspections for licensing, royalties, profit participation and contract compliance for film, television, music, consumer products and multimedia. He is a contributing author to an authoritative licensing guide, and instructs classes and speaks on emerging issues related to royalties and production accounting.
His professional background includes considerable in-house and consulting experience with entertainment studios and networks. Andrew served as an Audit Director for an international television producer, where he was responsible for all first-run and cable accounts receivable billing, worldwide production bank reconciliations, operational inspections of productions, and all guild-related PH&W contribution issues. He was also an Audit Manager for a major television network where he supervised cost compliance inspections and led the response to the AMPTP’s survey quantifying the overall revenues and expenses for all programs. In addition, Andrew’s special projects included the analysis of foreign tax incentives, distribution acquisitions, development costs and production overhead.
Before joining the entertainment and accounting industries, Andrew had a successful career in shipping, during which he received the U.S. Coast Guard designation Master Oceans Unlimited Tonnage and an endorsement as a First Class Pilot.