![]() In many cases, these licenses involve contacting the same artist. This means that artists need to have a contract for a song's words, music, and melody-all of which are covered by the publishing license-and also one for the specific recording being sampled. So it's really important to keep good notes."ĭo: Realize that clearing a sample involves a lot of paperwork.Īrtists can expect to need at least two separate licenses when trying to clear a sample: the publishing and the master. "And then they're behind the eight ball trying to clear it, when they don't know exactly where it came from. "A lot of producers create beats and then they forget where they got the sample from," she says. This work begins in the studio, with keeping song sheets with detailed info about compositions, says Deborah Mannis-Gardner, the owner and president of music-rights clearances company DMG Music Clearances. ![]() There really is a process of getting it cleared."Īlthough every sampling case is different, we checked in with three experts who have extensive experience to gather some best practices and advice on how to successfully clear samples.ĭo: Keep detailed notes in the studio over what's being sampled.īefore the process of clearing a sample even begins, make sure you're clear on what you're sampling and where. "It's something that has to be negotiated with all the parties that own the song you want to sample. "There isn't a central database or a central way to clear these songs," says Mara Kuge, president and founder of Superior Music Publishing, a music publishing and sync consulting company. (For the purposes of this piece, we're going to focus on the latter.) In both cases, artists have to go through the proper channels and clear any samples, which can be complicated. There are two kinds of samples: an interpolation, where a musician re-records lyrics or music from another artist's song, and a more straightforward sample, where an artist incorporates elements of an original recording in a new song. The Verve's situation is an extreme case, but it demonstrates the complexities of sampling-and the sometimes-expensive realities of what happens when an artist doesn't dot the i's and cross the t's from a legal perspective. It was an unexpected turn of events: After the 1997 release of the massive hit-which sampled a series of notes from The Andrew Oldham Orchestra's take on the Rolling Stones' "The Last Time"-Ashcroft and the Verve lost both lucrative royalties and songwriting credits in a lawsuit, since the orchestral sample hadn't been fully and completely cleared. Back in May, The Verve's Richard Ashcroft made waves when he announced that Rolling Stones members Mick Jagger and Keith Richards were turning over songwriting credit for " Bittersweet Symphony" to him.
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