Der Games-Markt

Jay Mistry
Jay Mistry

Lesson time: (2min 55sec)

Games sind wirklich cineastisch geworden und Musik ist zunehmend ein zentraler Bestandteil von Games. Entdecke, wie Games für dich zu einer lukrativen Einnahmequelle werden könnten.

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This lesson is part of the course Ein Leitfaden zu Musikverlag und Synchronisation
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Lesson transcript:

Music in the Games Market

I know we're just going to take a little aside here, but we've spoken a lot about film, TV, and ads.

The Importance of Music in Gaming

Music and Its Evolution

Tell me about the games market. A lot of music goes into the games market. How important is that?

Good publishers are connecting with game manufacturers.

  • Historical Context:

    • About 15 years ago, they stopped paying royalties on sales because:
      • Sales were minimal at first.
      • Then, they skyrocketed into the millions and tens of millions.
      • Popular titles like PS4 games and Grand Theft Auto changed the landscape.
  • Shift in Compensation:

    • Suddenly, manufacturers thought, "Oops, we can't keep paying royalties."
    • It shifted to more of an upfront payment model.

Cinematic Music

The music within games is becoming more cinematic due to advancements in technology:

  • Visuals are nearing lifelike quality.
  • The music must reflect this high standard.
  • There is significant financial opportunity if you can get in.

The Volume of Music Needed

In terms of volume, video games require far more music than other mediums:

  • Music Duration:

    • Advertisements might last a few seconds.
    • TV programs are typically much shorter.
    • Video games can go on for hours.
  • Production Time:

    • Some games have minimal music loops, while others need unique pieces for different scenes.
    • I've known people to work on one Hollywood trailer for three months.

Licensing vs. Bespoke Music

But, you know, I've always been aware of games like Grand Theft Auto that had a radio station in the car. This introduced opportunities to play artist-based music, which is licensed.

  • Key Differences:
    • This is different than bespoke music.
    • In licensing scenarios, game manufacturers hold all the cards.

Market Dynamics

  • They were going to sell millions of these games.
  • They acted as gatekeepers in this market.
  • Consequently, they could even ask for payment from artists because of the expected massive audience.

Conclusion

It's a bit like YouTube now; the focus is on exploitation and reaching as many eyes and ears as possible with your music. That's what games do nowadays.

About the instructor

Jay Mistry
Jay Mistry

Jay Mistry ist ein Veteran der Musikbranche mit 30 Jahren Erfahrung und beherrscht die meisten Aspekte des Musikgeschäfts. Jay begann seine Laufbahn bei der Performing Right Society, bevor er zu BMG Music Publishing wechselte, wo er gebeten wurde, die Abteilung für die Nachverfolgung von Einnahmen von Grund auf aufzubauen. 2003 gründete er Musical Sleuth Ltd, den ersten unabhängigen Royalty-Tracking-Dienst seiner Art, der Kunden wie Eric Clapton und The Beatles zählte. Nachdem er die Feinheiten von Urheberrecht und Tantiemen gemeistert hatte, wurde Jay 2009 gebeten, Director of Music Services bei The Discovery Channel zu werden. Sein Erfolg bei Discovery bewog die New Yorker Unternehmer Jingle Punks, ihn zu holen, um ihr US-Verlagsgeschäft aufzubauen und zu stabilisieren und zugleich ihr globales Inkasso-Netzwerk auszubauen. Jay berät heute eine Reihe hochkarätiger Komponisten, Musikbibliotheken, Filmproduzenten, Verlage und Tech-Plattformen. In A Guide To Music Publishing And Synchronization bringt Jay drei Jahrzehnte aus dem Innersten des Geschäfts auf klare, praxisnahe Ratschläge und zeigt dir, wie Verlagswesen, Urheberrecht, Tantiemen und Sync-Deals wirklich funktionieren – und wie du sie für dich arbeiten lässt. read more

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