Nick DitteryHis career as a dance music producer got a big boost when Tiesto used a 2013 bootleg remix of Avicii's “Silhouettes” by his duo, Disco Fries. But like countless other unauthorized remixes, “Silhouettes” isn't found on most of the popular streaming platforms. “Unfortunately, that's not the case outside of YouTube when Tiesto was playing it,” says Ditri Advertising sign.
That may change soon. Eleven years later, Ditri is trying to give commercial legitimacy to pieces in this commercial gray area. He is managing partner of ClearBeats, a startup that allows derivative works – remixes, jams, mashups and alternative versions – to become properly licensed tracks. ClearBeats' other managing partner, Bob Barbiere, is a former Dubset executive and veteran of digital technology and rights clearance. Ditri and Barbiere created the company with Susan Coffman and Yolanda Ferraloro of veteran syncing company Music Rightz.
Digital platforms are flooded with unauthorized derivative works because “it's the easiest way to get your foot in the door, especially in dance music and hip-hop,” says Ditri. In a perfect world, these tracks would be licensed for distribution on digital platforms or synched into TV shows, commercials or films. “But the problem is that it usually ends up on SoundCloud where it can be muted or pulled down,” he says. “[Or] ends up on YouTube or in a DJ pool.”
ClearBeats wants to address what Barbiere calls the “90/90 irony.” He estimates that 90% of artists who create derivative works want publicity and visibility, not the rights or royalties of the original artist. Additionally, 90% of rights holders would rather monetize a derivative work than remove it from a digital platform. But because the proper infrastructure isn't in place, Barbiere estimates that less than 5% and maybe 1% of derivative works perform properly and make money for rights holders.
“Why shouldn't 90% of that content live in an ecosystem where everyone can distribute to it, consume it, properly attribute it, and get royalties paid for it?” Barbiere asks.
The status quo not only hinders the ability of original recordings to generate revenue from derivative uses, but also limits the ability of creators to build their careers, Ditri says. “If [producers] they created a playlist network of five amazing Spotify playlists or Apple Music playlists, and that's their main source of promotion, and then they go and make a bootleg, that bootleg is going to be live wherever they post — which it's not going to be Spotify. So they can't even leverage their own networks. And it's limited to Instagram and other social media as well.”
ClearBeats currently assists labels, distributors and artists with custom licenses, works on some long-term, strategic projects and helps companies track down and collect unpaid or suspended royalties. Barbiere says he's been contacted by distributors who want to help clients license tracks that incorporate samples as well as streaming platforms who want to license music catalogs to allow their users to create derivative works. A subscription-based registry for franchisees and franchisees is expected to launch in late 2024 to 2025.
As for Ditri, the ClearBeats co-founder is giving him the chance to give Disco Fries derivative works like “Silhouettes” a life outside of YouTube. “I'm grateful for the video clip,” he says, “but wouldn't it be great if that was around then?”
from our partners at https://www.billboard.com/business/publishing/clearbeats-licensing-derivative-works-mashups-remixes-1235677519/