Todd Brabec is the Vice President and Director of Membership for the American Society of Composers, Authors, and Publishers (ASCAP). He talks about the fee for ASCAP's services. Though it varies by year, Brabec claims it's around thirteen percent. He also explains why ASCAP takes a fee. ASCAP takes a fee because they are a nonprofit association. Writers and publishers own ASCAP simply by joining. Also in this segment, Brabec shares the expenses paid for by ASCAP. ASCAP provides all the surveys and expenses of operation, such as litigation. The remaining dollars are split up evenly between writers and publishers based on their performances.

In this panel discussion held at a 2008 meeting of the American Bar Association’s Sports & Entertainment Law Forum, panelists Cynthia Sanchez, Dina LaPolt, Todd Brabec, and Jeff Brabec discuss the life cycle of a song from a legal point of view. They discuss how songs are used for physical sound recordings, as synchronized tracks for video broadcast and reproduction, as digital downloads, as soundtracks for advertisements and video games, as elements of musical theater productions, greeting cards, remixes samples & mashups, toys, internet streams, and more. They also discuss the kinds of deals which are currently being made in such situations.

In this excerpt from a panel discussion held at a 2008 meeting of the American Bar Association’s Sports & Entertainment Law Forum, the panelists discuss mechanical royalties – the income generated from the manufacture of physical recordings of a song, for example on CD, LP or other physical media – and how recent decisions by the Copyright Royalty Board have thrown the current statutory rates, and what is covered under what rate, into serious doubt. They also discuss who benefits and who loses in the current web of conflicting copyright and royalty rate rules, and how other nations handle mechanical royalty payments on sound recordings created in the USA.

In this excerpt from a panel discussion held at a 2008 meeting of the American Bar Association’s Sports & Entertainment Law Forum, the panelists discuss the copyright and royalty complexities that surround remixes, samples, mash-ups and similar repurposing of existing recordings – and how, in certain cases, failing to clear the samples on a song prior to recording means losing money every time the recording is licensed for third-party use.

In this excerpt from a panel discussion held at a 2008 meeting of the American Bar Association’s Sports & Entertainment Law Forum, the panelists discuss how songs are licensed for use in video games, and what it means in terms of licensing fees and royalty payments for publishers and copyright holders.

In this excerpt from a panel discussion held at a 2008 meeting of the American Bar Association’s Sports & Entertainment Law Forum, the panelists discuss the patchwork of ways in which songs are licensed for use in TV and films in the USA, and what it means in terms of licensing fees and royalty payments for publishers and copyright holders. The panelists illustrate these complexities through examples drawn from projects like House, Life on Mars, Gossip Girl and Don’t Forget The Lyrics!.

In this excerpt from a panel discussion held at a 2008 meeting of the American Bar Association’s Sports & Entertainment Law Forum, the panelists discuss how compositions generate fees and royalties from merchandising uses. Examples cited are lyrics printed on clothing as well as compositions and master recordings licensed for singing toys and a musical toothbrush.

In this excerpt from a panel discussion held at a 2008 meeting of the American Bar Association’s Sports & Entertainment Law Forum, the panelists discuss how the new vogue for catalog musicals (such as Jersey Boys and Mamma Mia) and how they can be an important revenue stream for composers lucky enough to have a song featured in such a show.

In this excerpt from a panel discussion held at a 2008 meeting of the American Bar Association’s Sports & Entertainment Law Forum, the panelists take audience questions about various legal aspects of performance rights, mechanical royalties, and how songs are licensed.

Todd Brabec is the Vice President and Director of Membership for the American Society of Composers, Authors, and Publishers (ASCAP). He talks about the duties of ASCAP. ASCAP goes to the user, arranges for a license to be acquired, negotiates the money, collects the money, and pays the respective individuals. Also in this segment, Brabec shares how excessive monies are divided. ASCAP looks at each area in which their licensed. Using information collected by data services, the money is divided according to number of performances. Brabec also discusses the founding of ASCAP. Writers and publishers founded ASCAP. It is the only field that pays writers directly.

Todd Brabec is the Vice President and Director of Membership for the American Society of Composers, Authors, and Publishers (ASCAP). He talks about the differences between ASCAP and BMI. One of the main differences is the reason each organization was founded. ASCAP is a writer and publisher owned organization dedicated to enforcing the copyright law. BMI is a corporation owned by the broadcasting industry. The two organizations also differ in other ways such as payment formulas. Also in this segment, Brabec stresses the affiliation regulations. Writers have to join one or the other. However, writers are free to switch to the other organization. The significance of a good relationship with foreign societies is covered as well. Brabec also focuses on the importance of having a contact at the performing rights organization (PRO). Also in this segment, he offers some advice. Brabec recommends knowing information such as the PRO's philosophy and if they pay correctly in certain areas.

Todd Brabec is the Vice President and Director of Membership for the American Society of Composers, Authors, and Publishers (ASCAP). He introduces his brother, Jeff. Jeff Brabec is the Vice President of Business Affairs at Chrysalis Music Publishing. Todd Brabec also presents their book, Music, Money, and Success. The brothers began the book in the '70s when they both worked at ASCAP. They decided to fill the void of information about the music business. Brabec explains that through the years, they gathered material from people already in the industry. Also in this segment, he covers how the Deems Taylor Award worked as a catalyst for the book. The brothers began writing articles and won the Deems Taylor Award. By doing so, they attracted the attention of Schirmer Books, the recipient of the book award. The book came out in 1994. The subjects of the book are covered as well. The book covers every area of music, including publishing, PROs, contracts, and film. Brabec points out that they are not against giving dollar signs. He goes over the cover as an example - an income chart demonstrating where writers and publishers make money. Brabec also states that the book is used at numerous universities.

Todd Brabec, Executive Vice President of the American Society of Composers, Authors and Publishers (ASCAP), discusses the importance of entrepreneurship and strategic thinking to aspiring artists today. He notes some practices that are common in the hip-hop world that he feels could be put to wider use.

Todd Brabec is the Vice President and Director of Membership for the American
Society of Composers, Authors, and Publishers (ASCAP). He talks about the 1948
decision. ASCAP had an exclusive contract with their writers. Thus, ASCAP had
to be the negotiating party for the writers in all circumstances. The 1948 decision
ruled that as an antitrust violation however. Brabec explains that current contracts
allow writers and publishers to bypass ASCAP or BMI and directly license to users.
Also in this segment, Brabec covers the decision's effect on motion picture monies
in the United States. Since the provision remained from the decision, motion pictures
do not pay money in the United States. He emphasizes that performance royalties
for films are a major source of income in foreign territories.

Todd Brabec is the Vice President and Director of Membership for the American Society of Composers, Authors, and Publishers (ASCAP). He talks about when an individual needs a license. Whenever music is used for anything outside the home, such as a department store or dentist office, permission must be given. A license must be acquired and a payment made. Brabec explains that the decision of whether ASCAP or BMI collects the money and negotiates the fee depends on the writer of the composition being performed. Whichever organization the writer is affiliated with settles the license. Also in this segment, Brabec discusses negotiating licenses. ASCAP deals with all different users of music. Each license is negotiated separately. For instance, university licenses depend on the number of full time students enrolled. Reciprocal agreements are covered as well. The main countries of the world have their own performing rights organization. Since American writers and publishers receive a lot of their money from outside of the United States, ASCAP has agreements with the PROs of the world. When ASCAP writers are performed outside of the US, the foreign PROs collect as if the American writers were part of their own society.

Todd Brabec, Executive Vice President of ASCAP, discusses what a publisher does for an artist, from aggressively exploiting an artist’s catalog to collecting and dividing revenues properly. He also describes a few alternatives to traditional publishing deals.

Todd Brabec is the Vice President and Director of Membership for the American Society of Composers, Authors, and Publishers (ASCAP). He talks about Music, Money, Success, and the Movies. It is a pamphlet covering all the different types of deals in film, such as underscores. Brabec also introduces Music and Money. It is a booklet about the areas that are profitable for writers and publishers. The websites of ASCAP and BMI are recommended as well. ASCAP.com offers an array of useful materials, such as summary articles written by Todd and Jeff Brabec.

Todd Brabec is the Vice President and Director of Membership for the American Society of Composers, Authors, and Publishers (ASCAP). He talks about the close relationship between video games and film, the types of music in films, and the skills necessary for a songwriter or film composer.

Todd Brabec is the executive vice president and director of membership for the American Society of Composers, Authors and Publishers (ASCAP). A former entertainment law attorney, recording artist and graduate of the New York University School of Law, Todd is a winner of the Deems Taylor Award for excellence in music journalism with over 100 published articles, is the co-author of the best selling book Music, Money And Success: The Insider's Guide To Making Money In The Music Business (Schirmer Trade Books/Music Sales), and is an adjunct professor at the USC Thornton School of Music/Music Industry Department where he teaches the business of music publishing.