Assignment or licence - what's the difference?

Judge Jules
Judge Jules

Lesson time: (3min 17sec)

Judge Jules explains the difference between assigning and licensing your rights, using the freehold-versus-leasehold analogy, and the three assets you grant in a record deal: recordings, songs and brand.

Course preview

This lesson is part of the course Legals & Deals: The Basics of The Music Industry
Watch a preview of the full course below.

Lesson transcript:

Understanding Copyright in the Music Industry

As an artist, it's quite important to understand the basics of copyright. You don't need to be a lawyer, and you don't need to have a university degree in it. However, it is crucial to realize that copyright is an asset that you can metaphorically hold.

Three Main Assets in a Record Deal

In any record deal, there are basically three assets that you are going to be granting rights to:

  1. Recordings (Tracks) - This is one copyright.
  2. Songs - Bear in mind that the song might be written by someone completely different from the owner of the recording.
  3. Brand Rights - This pertains to you, the artist, which we'll discuss further.

Recording Rights and Record Deals

When it comes to recording rights, which is at the center of a record deal, there are two ways you can proceed:

  • Granting Rights to Your Record Label
    Think of the analogy of property as a way of understanding it.

    • Real Property vs. Intellectual Property
      In real property, as opposed to intellectual property, you can either buy the freehold or the leasehold:
      • Freehold - Buying something for as long as you want to own it, in perpetuity.
      • Leasehold - A limited period of ownership.

Assignments vs. Licenses

This analogy applies to recordings and any use of intellectual property where you have:

  • Assignment - Similar to a freehold property assignment. If I assign my rights in my recording to you, you own those forever. I have no further rights over them in that respect.

  • License - If I license rights in my recording, it's for a specified period of time. My advice to any recording artist is to try and license your recording for a limited time, so you eventually get it back again.

Personal Experience

This approach has been very practical for me as an artist. I had a number of hit records 15 to 20 years ago, most of which I have now regained the rights to. I've got them up on Spotify and I'm earning directly from them, with no deductions whatsoever by any record company.

Sometimes, when I talk to artists about the importance of licensing their rights for 10, 12, or 15 years, I get a slightly confused look. Artists may think, "Well, I might be dead in 10, 12, or 15 years." The reality is, it's essential to treat your rights as an asset you can earn money from in the future.

Asset Sales and Future Earnings

There's a whole different theme we could discuss (which we probably won't cover in these classes) about asset sales, where people sell their songs and recordings that have a proven track record of earning income.

However, going back to you and your record deal, it is really important to try and limit the time frame for what you are selling to your record company.

Conclusion

There are certain labels, like Universal, where it's very challenging to do anything other than assign the rights. However, the other two major labels, Warner and Sony, will typically allow licensing. Most independent labels will as well. This is a really important point, absolutely at the center of any negotiation for a record deal.

About the instructor

Judge Jules
Judge Jules

Jules O'Riordan has over 30 years of experience across the entire spectrum of the music industry. This includes nearly a decade as an A&R for the Universal umbrella of labels, 15 years as a presenter on BBC Radio 1, over 150 record releases and remixes in his own capacity as a recording artist, plus a 30-year career as one of Britain's best-known, globally-travelled DJs (Judge Jules), with over 5000 gigs under his belt, plus extensive experience as an event promoter and artist manager at the highest level. Suffice to say, Jules knows the music industry inside-out, and his clients regard him as a trusted advisor for whom no legal or business affairs challenge or problem is too large or small. Jules has been a lawyer for 10 years. His practice takes in the entire breadth of the music-focused entertainment industry. His legal and deal expertise includes management, recording, publishing, distribution and label services, music-based apps, games and tech projects, production deals, producers, featured artists, endorsements, merchandising, neighbouring rights, TV/film scores, live performance, events and venue agreements, plus copyright and rights infringement and many other disputes. Jules's clients include artists, management companies, record labels, songwriters, event promoters, producers, music tech businesses, production companies, live agents, music publishers and DJs. He has spoken on many panels and seminars including ADE, Brighton Music Conference and AIM events, and has been a guest speaker on legal issues across a number of on and off-line media outlets, including BBC Radio 5 Live, BBC Introducing, Financial Times, The Sun, The Times and Mixmag. Jules speaks fluent Spanish. Who better to demystify the contracts and deals every musician eventually faces? In his course, Jules turns three decades of hard-won industry knowledge into plain-English guidance, so you can understand the business side of music and protect your work long before you sign on the dotted line. read more

What's included?

46 lessons (1h 6m)
Advanced video features
Mobile, tablet & desktop
100% satisfaction guarantee
View course info