The Ultimate Music Glossary

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Navigating music licensing terms and definitions is a breeze when you have the ultimate music glossary on hand — so we created one just for you.


License

Licensing from the Marmoset catalog of music entails obtaining rights to use the song(s) for an agreed upon time period. Music licensing gives you the ability to use a song in almost any kind of creative project — like building out a stellar soundtrack for your feature film or creating a signature sound to your podcast’s intro.

Custom License

Marmoset can tailor a license to your project’s specifications — does your creative project have some tricky variables or broadcasting terms, or are you considering using a specific kind of vintage song but not seeing the “Buy Song” button? A custom license best ensures you’re covered, fill out our custom license form to get started.

End Client

The end client is the person or company the content is made for — if you’re a videographer hired to film and edit an ad campaign for Nike, the end client would be Nike. Swoosh!

Employee Count

This is is the number of employees who work for the project client’s company. For example, if you were creating a video for a large company like Amazon, the employee count is the number of employees employed by Amazon.

Instrumental

If a song is absent of lyrics (vocals), the song will be labeled as instrumental. Commonly, Marmoset has both instrumental and lyrical versions of a song — here’s an example of how an instrumental song is labeled on the search page.

Intellectual Property

Intellectual property covers intangible content and creations — it covers anything from trademarks to copyright. When you see intellectual property, this indicates that content belongs to that content creator. For example, a song, while not tangible, is still an artist’s intellectual property.

Lyrical

Lyrical indicates a song with lyrics (the inclusion of vocal melodies). Sometimes the lyrical versions of a song will contain lyrics. While browsing the roster, click the three vertical dots and select Lyrics to see more.

Monetization

Using on one’s content to generate revenue can be categorized as monetization. When it comes to music licensing, streaming sites or any platform that incorporates pre-roll ads is a monetary opportunity for the content creator. If a video is distributed for world world web and shared on streaming services (with inclusion to ads) we’ll help you customize the music license for your content.

Non-Permitted Content: 

This is content that goes beyond the limit of what the license terms cover. Using the previous example of a Personal - Single Use Podcast License — if the podcast is hosted on a commercial or website, this scenario would fall into non-permitted content. Not quite sure and need to double check? We can help.

Perpetual

A perpetual license means forever, ever. With perpetual licensing, you don’t have to worry about the hassles of renewing a license and its terms. An indefinite (perpetual) music license means you can keep your YouTube miniseries online without the song’s license expiring.

Performance Rights Organization (PRO)

Performance Rights Organization support artists and songwriters in getting paid for the usage of their work/music through royalties. While Marmoset focuses on helping our artist community get paid for their music, we are not a PRO but instead a sync licensing agency and original music production studio.

Permitted Content

When purchasing a license, you’ll want to review what exactly the license covers. For example, a Personal - Single Use Podcast License’s permitted content covers a single 12 month audio podcast series posted by a non-commercial place (i.e someone’s blog). Read up more on a license’s permitted content here.

Web (Paid)

When a song is being used in material where you’re generating revenue (think about YouTube videos with sponsored or promotional ads). Keep an eye out for this one especially if it falls within a license’s non-permitted content description.

Web (Unpaid)

Content with no ad dollars behind it or if being shared on a personal website. If your film was created outside an actual studio system and is being shared in a standard festival circuit, this is considered Unpaid Web. In the chance your film is picked up later for distribution, get in touch with us to revise your license conditions.


We're Hiring! Music Licensing Coordinator

Marmoset Now Hiring

Marmoset is seeking a Music Licensing Coordinator — the ideal candidate is someone who demonstrates keen attention to detail and processes. Core responsibilities entail outreaching to our community of filmmakers and creative clients, managing invoices and quotes, and other admin support for the Business Affairs Team.

For more information about this position and to apply, please click here.

The closing date for this position is Friday, March 1, 2019. Applications are reviewed on a rolling basis as they are received, so the sooner you apply the better. Applications that do not strictly follow the guidelines may not be considered.

Learn about opportunities here at Marmoset, following the link below.

Marmoset is a proud Equal Opportunity employer, celebrating a diverse, inclusive community of people, cultures and stories.

Posted on February 14, 2019 and filed under Marmoset.

The Music Behind Givenchy's Spring Summer Campaign

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Givenchy’s Spring + Summer 2019 Campaign is a blend of avant-garde and retro culture — a crisp black and white landscape, where the characters look as though they were plucked out of Andy Warhol’s studio, the Factory.

Alongside the androgynous collective, Givenchy features Marmoset artist, Damon Boucher’sK I N” as its musical backdrop. Electronic synth beats, the music ensures the seasonal campaign reaches full circle. To learn more about Boucher’s musical journey, the fashion undercurrent of his LP — N K I and where he’s headed, we connected with the artist earlier this month.


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Marmoset: Could you tell us a little bit how you first got into making music?

Boucher: I grew up taking classical lessons, and performing contemporary music in a Pentecostal Christian church. In church, I learned to improvise pop music, although church also kept me closeted. But, I’ve been writing music since that time. I played and wrote music all throughout college; then began to produce music after I graduated in 2008.

M: Listening through NKI, your music has such a dreamy kind of presence along with an energetic pulse to it. How would you describe your music to listeners? What kind of visuals come to mind?

B: I try to make it watery, but clean. Clean can sometimes mean dry and airy which plays off the watery thing. Visually, I always think of clean, stark contrasts; light and dark meeting in balance. I think of an ocean horizon, fashion runways or queer nightlife culture.

M: Do you collaborate with your work or do you tend to flourish more as a solo creator? Yes! Most of my work is collaborative. My main project for the past few years has been producing music for Chanti Darling. I’ve also worked with The Last Artful, Dodgr, Maarquii, Natasha Kmeto, Nafisaria, The Portland Cello Project, Ripley Snell, Neill Von Tally, DJ Sappho, Pocket Rock-it and many more. (Click here to listen).

I’ve also had a chance to teach and collaborate with several of my students over the years. I’ve taught piano and composition at School of Rock since 2010 and have directed over 40 shows there; and since they let me keep my studio inside their building, all of my projects are made out of there. I call that studio Zip Zap Studios.

I’m super proud of the work I’ve done with others. However, even though I’m often in collaborative environments, I find that I work best alone. When producing music with others, I oftentimes meet to record, then polish the songs when I’m by myself. There’s less pressure when I’m alone so I find those times to be more experimental and fruitful.

M: Who are some artists you've been listening to this year?

Current new stuff from: The Internet, Roisin Murphy, Against All Logic, Travis Scott.

Older stuff from: Missy Elliott, Gary Numan, Four Tet

M: What went through your head when you heard your music being featured on the Givenchy Spring/Summer campaign?

I sincerely wanted that music to be used for fashion so I was excited to see it used in that capacity! A lot of the track names on N K I have fashion related titles, all for the reason that I imagined this record being used just as you now see it.

M: What inspires you about the Portland music scene?

Someone once described Portland to me as a great “incubator” for creative ideas, which I think is both bizarre and accurate. It rains forever so I want to stay inside and work on music until the weather’s good. I am completely privileged to be able to work on music with the setup I have in Portland and I am forever grateful for that. I would not be able to do that in a variety of other places or lives.

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The Spring Summer 2019 Campaign

Monday’s New Music Mixtape

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While we can’t completely fix the downer vibes of Monday, this Monday mix of new music is sure to help launch your week in the right direction. From the release of Y La Bamba’s new album, Mujeres a vibrant work of Latin-pride and abrogating machoism to the new Fritzwa & J. Brodsky collaboration — their single The Best makes us nostalgically recall our fave throwback jams.

New music hitting the Marmoset catalog of music now — start with these five songs first:

Cruel 2 B Kind” by Mïrändä

Boss” by Jike Junyi

Mujeres” by Y La Bamba

The Best” by Fritzwa & J. Brodsky

Syntax” by Duncan Burnett

Dig into the rest of Marmoset’s new music mixtape below:

Spotlighting Music Licensing Creative, Marissa Hernandez

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A tried-and-true commitment toward community betterment and keen ear for awesome music, Marissa Hernandez is the kind of woman anyone would be lucky enough to have on their team — or grab a coffee with (one of her favorite things to do).

Having a natural instinct toward music and being able to “feel” what works with a creative project isn’t something that can necessarily be taught. But it’s something that Marissa one of Marmoset’s Music Licensing Creatives has a serious knack for and a skill she exercises every day for clients.

Music is in Marissa’s blood — her father being a self-taught musician who plays numerous instruments and her mother, who plays both the piano and guitar; her childhood inarguably ran deep with positive music reinforcement. Such an underlying presence prompted Marissa to expand her own music preferences and taste, using the music her parents played for as a child as the springboard for discovering her individualistic musical tastes.

“I've kind of found that I don't really like being told what to like. There's a lot of music that my parents would listen to and make me listen to when I was younger. But now that I’ve come back to it on my own, I'm like, oh, I love this! So it's almost like I needed that sort of freedom to make that decision on my own.”

Naturally the arts and music were a driving force in Marissa’s life and underlying motivator in college. Inspired by The Current, a public community-focused radio station in Minneapolis, Marissa set her initial sights on music as her career path.

“They play a lot of independent bands and artists, which really helped facilitate my love for indie music,” says Marissa. “There's not really a strong equivalent to that here in Oregon. And so I went to school thinking, I'm going to start a radio station. And then I thought, well, radio's a dying industry so I probably shouldn’t — that's probably not a great business decision.”

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With other interests in writing and graphic design, Marissa began scouring how music would fit into her professional pursuits. It was when she discovered her niche in music supervision that she secured her dream job overseeing music to picture — her very first sync and catapulting moment when she pitched a Santigold song, successfully landing it on a Summer Olympics commercial.

Aiming to provide exposure to talented, lesser mainstream artists and helping them advance in the music licensing world, Marissa focuses on the bigger picture when pitching music for ad campaigns, films, TV shows and other visual media.

“It’s always really rewarding whenever we can help an artist continue to work and do what they love for a living,” Marissa says. “I feel like it's more direct here [at Marmoset], it's clear to me when we’ve had an influence on someone’s career.”

After acquiring a wealth of experience in music supervision, Marissa began searching for a place where she could share her passion for community alongside music, eventually making her home at Marmoset as a Music Licensing Creative.

“I feel really good about the fact that we have initiatives to help the community here because that was something I really struggled with working in advertising — the question being, am I really making the world a better place? That's something that's really important to me overall in my life.”

Leading her team in internal searches through Marmoset’s catalog of artists for creative projects, Marissa expertly navigates external searches too — a muscle she flexes when a client has ultra specifications for a song they want to license but can’t find it on the Marmoset music roster. Using her knowledge of the music industry and with wide range of resources, Marissa scours and obtains songs that others may not have the same access to or perhaps a lack of insight to inquire about.

With her involvement on Marmoset’s Eagle Scout Team — a group dedicated to discovering and recruiting more obscure artists — Marissa also invests her time and leadership on Marmoset’s Greater Good Team, an internal group focusing on community partnership.

Her wealth of industry knowledge makes Marissa a force to be reckoned with, being able to interpret a client’s asks and vision, offering up her creativity, guidance and expertise in the most genuine of fashions. At the end of the day there’s no question about it, Marissa makes Marmoset and her community a better place.


Listen and play through Marissa’s “All Time Faves” playlist.

Create Your Own Music Adventure

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Sometimes choosing which creative route a project needs musically can seem endless — questions like does this audio need some sound design work to how can I get this song to heighten specific moments are all important to consider. Because if your music isn’t working to enhance visuals, it’s probably distracting or worse, losing the audience’s attention.

It’s time to get creative and reach out to Marmoset’s music team; we’re always down to help find the right music for even the most challenging of projects. Whether it’s scouring the Marmoset artist roster or creating an original score in-house, the possibilities are endless. Which is why we’re inviting you to come along on the Marmoset music adventure.

Weave through a slew of creative decisions as you face a tight deadline on your upcoming project. If you run into a dead-end, just try again! See you on the other side.

Create Your Own Adventure is best played on a desktop or laptop device


You’re the last one in the office working on a project that your boss just handed off to you. It’s a big one and you’re searching for a song that will help tie everything together. You’re on the Marmoset search page and start applying filters but you’re getting stuck. You…

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Illustrations by Kale Chesney — depicted above: Stevie and Rick, beloved Marmoset dogs