Search This Blog

Like GFM On Facebook

Copyright 2012 Grimm Factor Music. Powered by Blogger.


Total Pageviews

Grimm Factor Music Publishing is owned by William "Grimm" Jones aka The Grimm_Factor and is a subdivision of Network29.

The Grimm_Factor - Will "Grimm" Jones
Will "Grimm" Jones - The Grimm_Factor
GFM Publishing was established in 2007 under the Performing Rights Organization ASCAP. GFM was started as a self publishing platform for my stage handle The Grimm_Factor and my music works. However, I noticed that my love for all forms of music and the indie music scene would be greater utilized as a music publisher. So I set out to learn about music publishing and music licensing as well as how I could make a living with it and provide the same opportunities to other indie professionals. 

Music Publishing is a simple concept. Its music licensing that can get a bit complex. As I get older, I find myself drawn more to the business side of music. Since I don't want to run a record label per se, don't want to manage any artists or bands, don't want to book shows or anything record label related, I felt that the music licensing biz is where I'd like to be. I can discover new artists and bands plus help give them a chance to break into the music scene, get their songs heard by the hundreds/thousands/millions across the country, and on top of that, get paid!

That's what it's all about right? Doing what you love and getting paid from it? Well, for most it is, not all.

A little more about me: I have been writing, recording, engineering, producing, marketing, performing, and promoting my own music for close to 20yrs. I may not be famous but I am knowledgeable, and know alot about being an indie artist, and what the new music industry is about. On top of being a music publisher, I also market and promote indie bands through other outlets like my Network29 Mixtapes blog and my -560- Radio Broadcasts. I write and blog often, plus I'm certified as an Inbound/Internet Marketer. I'm pretty strong in Graphic Design/Web Design as well as many life/business skills. All of that is open and available to any and all artists I work with.

When it comes to music publishing and licensing, I am working hard to get the current songs in my catalog placed. This does take time. Networking and building relationships is the key in this business besides having great music for music buyers to choose from. As I steadily build my catalog, I look for artists and bands who have a diversity of music to choose from, and they have to offer their own uniqueness to their library of works. For now I offer two types of agreements: Sub Licensing and Co-Publishing. Each has their own advantages and disadvantages. Each can be entered into and cancelled whenever an artist sees fit. Each agreement is thorough, fair, and is mainly set up according to industry standards. No one is forced to enter into any agreement and is encouraged to seek legal guidance pertaining to the terms and conditions set forth in each agreement. 

Please do not hesitate to get into contact with me if you feel you have music and need a publisher to represent your interests as it pertains to licensing. If you want to utilize any of my other services then check out my price list page and then use the contact form to get in touch with me and we'll talk things over. If you don't feel I am the man for the job then move along. If you don't believe I know what I'm doing then subscribe to my posts, you'll see all of the knowledge and info I give out plus I'll always let everyone know when I place a song on any media outlet or channel. 

What I Offer To Artists, Writers, Composers, and Producers

Here are two offers we have for songwriters/bands/composers based on the kind of work we do:

1.) Sub Licensing: Also called my Licensing Liaison agreement. The writer would allow me to work as a middle man only to negotiate licensing deals for their music. I will have a set fee for each type of license which can be negotiated based on a music buyer's budget. If the writer/band/composer in question gives me 1-10 songs, then I split the licensing fee acquired 50/50. 11-20 songs the split drops to 35/65 in favor of the writer/band/composer, 21-35 songs the split goes 25/75 in favor of the writer/band/composer. I do it this way because the more songs I have to add to my catalog, the more I have to work with. 

This agreement is usually for a year but could be agreed to for longer should you choose. I don't control the rights to the songs, and won't register them with ASCAP which is my PRO. You keep all rights and royalties, we just split the fees. 

2.) Co-Publishing: This agreement has me working as your co-publisher, we split all fees 50/50 and royalties 50/50 (based on standard rates set forth by federal copyright laws). If you're selling your music, I won't take any of the profits. I would not sell your music through any retail outlet, online or off. You would transfer the rights to your music to me for at least two years. The percentages won't change because I would do more for you as a co-publisher and any entity that wants to do anything with your music must come through me. You would still be listed in my catalog with ASCAP as a writer/composer. SoundExchange would have me listed as the rights owner of your music and you or your band as the artist/backup singers, then any digital streams/plays would be split evenly in that respect as well. 

This agreement you would be locked in for at least 2 years. The music that I choose would be the only music you need to transfer the rights to. You can still use other publishing or licensing companies for any other songs you own that are not co-published through me.  

The Benefit of the Sub Licensing Agreement:
  • I don't own any rights to your music, therefore I am not entitled to any Royalties.
  • I am not co-publishing so you can use other publishers or licensing companies to catalog and market your material to music buyers.
  • You can cancel the agreement at any time.
  • You can take advantage of any other marketing/promotional tools or services I have to offer, but would have to pay if there is a cost involved. 
  • You can sell your music with no problems from me. I have no say in anything past licensing your works.
  • You retain creative control over your works. You never have to worry about me telling you how to create your music. I will tell you what music buyers are looking for when it comes to songs so that you can tailor some of your music to fit that criteria.  
The drawbacks of the Sub Licensing Agreement:
  • I would mainly market/promote your music as part of my overall catalog. You wouldn't stand out too much among any other artists in my catalog. 
  • No effort on my part to make sure you're getting all of the Royalties you're supposed to get across the world. You have to do your own collecting or hire someone else to do it for you. And you have to handle the royalty split with any other songwriters/composers involved with making the songs.
  • No effort would be made to get your music into any other media outlets besides TV, Film, Gaming, Commercials, and a few others (Retail, Business Projects, etc.), so there will be no push to get your music onto broadcast, online, or digital radio/video channels.
  • If you don't give me at least 30 days prior notice to cancel the agreement, I won't split anymore fees with you that I've negotiated which would be paid after the point of your cancellation.
  • I won't act on your behalf, legally, to make sure no one is infringing on your rights or that you're not infringing on anyone else's rights.
  • You would be responsible for getting the permission to use, and clearing, any works containing samples, interpolations, or derivatives of other works not your own. Truthfully, those are the last type of songs I'd choose to put in my catalog. I may not choose them at all. 
  • I would choose the songs I'd like to place in my catalog. Yet it is up to you to say yes or no to the ones I pick.
  • You can't amend any new music to the remainder of the term for the original agreement. We would have to enter into a new agreement.   
  • After the term of the agreement is completed, you would have to sign a new agreement if you want to keep your songs in my catalog provided I've been bringing you money with it. 
  • I would only enter into 2 Sub Licensing Agreements with you. You would have to Co-publish any further material that you bring to me. 
The Benefits of Co-Publishing Agreement:
  • I would feature you as one of the main acts as a part of my catalog that way your music stands out. I would help aid in your marketing and promotion efforts as well. 
  • I would be more aggressive negotiating fees for any license sold to a music buyer.
  • I would handle your administrative needs like collecting additional royalties owed to you from your PROs/SoundExchange
  • I would push to get your music onto more media channels, including broadcast, digital, satellite, and online radio/streaming outlets. You are still encouraged to handle that on your own as well. 
  • You still have the right to sell your music as you see fit without me getting a cut. (Royalties not withstanding) 
  • You only have to transfer the rights of the songs that we agree on for the catalog. You can still pursue other Publishers or Licensing companies for music not co-published with me. 
  • You would still have full creative control over the type of songs you create. Even though I will tell you what music buyers are looking for, you can still opt-in to co-publish with me other types of songs that don't fit a certain criteria. So long as we agree on the music, we're good. 
  • You can take advantage of any other marketing/promotional tools or services I have to offer, but would pay either a discount if there is a cost involved or, most likely, pay nothing at all. 
  • Although I still would rather refrain from choosing music with samples, interpolations, or derivative works, I'd take a good look at songs you have in regard to that and split the costs of getting them cleared provided it fits with my budget.
  • If any other bands/artists/composers or businesses infringe on your copyrights for any of the songs in the catalog under the Co-Publishing agreement, I will take up legal action for and with you. Any legal fees would be split with the majority of it handled by me.
  • You can amend new material to the remainder of the term of the initial agreement or we can make a new agreement.
  • You would be one of the first to know of any leads for material needed by music buyers. If you have the kind of material they need and it's not on the original agreement, we can just amend the new material to the original agreement. 
  • Once the term of the agreement is completed, you will be notified and have the option of opting out of a renewal for the songs in the agreement or just do nothing and I will auto-renew the agreement for you. If you opt-out, I will transfer all rights back to you and remove myself as your Publisher interest with my PRO.
The drawbacks of Co-Publishing agreement:
  • I would still only be marketing/promoting your music as part of my catalog (tho with much more visibilty), that means I wouldn't market or promote any new singles, albums, or other projects not in the catalog. I would help aid in your marketing/promotion efforts of those outside projects probably at cost. It all depends on what can be done by my administration.
  • You would have to split your Royalties with me. 
  • You cannot enter into any agreements with other music publishers or licensing companies for the songs placed in a co-publishing agreement with me. This does not affect all your material, just the ones co-published in my catalog.
  • The cost of clearing music with samples is ridiculously high!!! To clear one song with a sampled/derivative work could cost over $7,000!! To which most of that cost will be on you.(dependent on the sampled material in question).
  • I would own the rights to your music in the catalog for a short time. 
  • You cannot cancel the agreement once we enter into it.You can seek legal counsel if you feel I haven't paid you what you were owed to retrieve that money. I would put a freeze on all royalty distributions for every song on the agreement until the legal matters are finished. You're responsible for the legal fees. Trust me, I don't plan on fucking with your paper. 
  • If you opt out of the agreement at the end of it's term, all royalty collections will be your sole responsibility after that. 
  • You would be limited to 2 Co-Publishing agreements, but if you go the co-publishing route first, then I would do as many Sub Licensing agreements with you as you want. In some ways this is a benefit because you can choose to have certain songs under each type of agreement. 
  • if you opt-out of the agreement at the end of it's term, you will be responsible for handling any copyright infringement legal matters should another band/artist/composer or business violate those rights. 
I have the terms finalized for the Sub Licensing agreement now. I'm still working out all clauses and terms for the Co-Publishing agreement. I want to make sure it's easy to read, well understood, covers all grounds, and is extremely fair. No matter which agreement you decide to go for, you can still utilize all of the industry, business, and marketing info that I blog about. Also I have plans to create a music community of all the acts in the GFM catalog so that you can work together on music and expand your reach. Plus I have ideas for compilation albums and more.
I am also working on an Exclusive Publisher agreement where I would own the rights to any and all songs or works that you create that's not already owned by another Publisher or label. This agreement would be close to a record deal with the exception of you getting your rights back to your material after a certain amount of years. The only thing I wouldn't do for an artist in that agreement is PR, Managing, Booking Concerts/Shows or appearances, merchandising (unless its based on the catalog), Artist development, etc. Like all the stuff that has nothing to do with Publishing, Royalties, and the catalog. However, that could be worked out. What's great about an Exclusive agreement is that all you have to do is worry about creating the music. As your Exclusive publisher I would handle damn near everything else. Including all legal disputes, fees, and costs of clearing any works with derivatives. That's not something I'm ready to take on yet. Once I build a decent staff, then I'll get that together.  

Let me know what you think and we'll take it from there. 

I appreciate that you've taken the time to learn more about me, my company and that you're considering working with me when it comes to music.