You' re one of those who puts commercial music on your podcast, although
it' s not a highly recommended practice. There are people who do it
because they think they' re covered by a license, by a series of
agreements. I personally don' t recommend it. And if you' re
a person who does, you' ve probably run into some other problem.
Today I want to explain to you why it is so difficult to put commercial
music on podcasts. To this day, in two thousand twenty- four we
welcome you to the other side of the microphone. On the other side of
the microphone, a project by Jorge Marín Nieto in which you will find your
daily ration of metapodcasting casting with news, events, tools or episodes of opinion
in just ten minutes. Ten minutes, ten minutes. Hello to all the
curious and curious that you want to be aware of everything related to the production
of podcast, podcasting, all the news, news, tools and curiosities that
I bring to the other side of the microphone every day in just ten fifteen
zero minutes. I am Jorge Marín, and it is a pleasure to invite
you to come to this side of the microphone as every day from v producer
to offer you a new sound pill that will reach all players and podcast applications.
Today I want to bring you a chapter, rather a reflection regarding a
news story that I saw recently on the Global News website c a Canadian website
that tells us about how difficult or why you can' t put or shouldn
' t use commercial music on podcasts, because there is still no commercial agreement
between creators and distributors of commercial music and podcast creators and distributors, nor the
platforms themselves, or anything at all. The industry and market are not prepared
to use legally and effectively integrated music within our podcast. And some of you
' ll be thinking if man does Evox have a memory with the good ones.
I' m sure, I' m sure that if you were serious
about them or any other means, you' d have to look very carefully
at the points of that agreement, because it' s a little caught with
tweezers. Moreover, it should be remembered that we are only covered by our
podcast outside our borders in Spain. If we talk about Spain, it would
not be covered by those agreements, because each country has its own distribution agreement
for each music license and it would be necessary to hire or reach a new
agreement in Spain. The same happens with some music used in Spotify within their
podcast and music option, which I will talk to you about in a few
minutes. Well, in this article they do kind of back to the story
and how the musicians were against even that their music if listened to on the
radio. Very early in the days, when the first tunes began to be
distributed on the radio, the musicians said, but man, if people are
going to listen to our songs on the radio for free, what sense does
it make I don' t want my music to be heard on the radio
for free, until, little by little, over the years, they began
to reach agreements to return an economic agreement to all those artists who let their
music be published on some radios. Then, this gradually evolved so that even
this way of promoting itself would be beneficial for artists. But logically, there
had to be an agreement and a record of all the songs used on musical
radios. At first, these records were commented on in Global News, made
by hand every day, all the songs that sounded in each of the channels
were hand pointed, and then, at the end of the month or,
at the end of the quarter, reported to the competent authority. Listen,
we' ve played this song so many times, we' ve played this
song so many times, and little by little, that agreements will be reached
so that they don' t go over the number of times those songs don
' t go too far in the number of minutes. Let' s remember
that on the radio the whole songs don' t sound so people can'
t record them, because this already sounds very old. But you know what
I mean. All this also with streaming music has evolved a lot, just
as it evolved in its day. Those lists that were made by hand now
are already made automatically. Automatically record all the songs that sound encarradas in each
musical radio. Well, or the musical thing also so that it is registered
and so that it is given say all kinds of authorizations and are complied with
everything agreed with these agencies of distribution and representation of musical artists and that each
one, then, collect what is due, because let us remember that not
only the artist takes money, but the editor, the distributor. A profit
- sharing must be done, and logically, everything must be recorded. And
that' s where the problem of including songs into podcasts comes in. Firstly,
because of the misuse that is being done. Remember, in order for
us to have the right to put a song with rights in our podcasts,
we should sign an agreement either with a distributor or with the artists themselves,
especially with the agency or the record label of that artist to determine how many
musical minutes, how many times this song is going to be put on and
depending on the number of downloads, a number of play excuses or the number
of plays that is made of our podcast, that artist would have the right
to charge for that use of his music that you do not charge for your
podcast. It doesn' t mean that the artist in question doesn' t
want to charge for his eye job. These are licensed works, works that,
if you want to use, you have to pay, just as agreements
are made for the use of books or films, etc, etc, etc,
in public libraries, which have a right of distribution because they have paid
for them, not the libraries themselves. But yes, the state, those
books, those movies, that series is all that is rented in libraries.
It is the State itself that pays those fees. In the case of music,
the same thing happens. Radios pay to use those musics on their grills.
You should pay for being able to use those songs. Even if no
one listened to your podcast and we don' t take that into account.
We' re misused, because we should split the profits. And here we
' re already in the real melon. If our podcast is marketed in some
way or another, or even the own platform where we stay, the podcast
monetizes it and here now, now I get scared and I get a little
bit on our side. We should share the benefits of our podcast with that
musical artist as well as with a designer we pay for. If we want
a cover or a graphic design for our podcast, for those artists that we
use their musics, we should also pay for them, just as if we
want a music specially designed or composed for our podcast, we should pay that
composer, that is artist to play it or compose it. For the artists
we' re taking advantage of for their commercial music, we should pay for
them. But they should also do so on the platforms themselves. And here
it takes us to the real melon of all this. There are many podcast
platforms that benefit from our content. We all know this and we get a
lot of gnashing when we see that there is that platform X in question is
putting ads on my podcast. Why don' t I take any of this
now. But not only are you not taking your money from that platform because
it puts ads or because it puts vanners or because it puts or because it
collects a subscription is that the artist from which you are benefiting because you have
included a song with rights is also not receiving anything and has its full right,
because he has registered his work. What' s the best, you
haven' t done it and you have to go to the platform and tell
him you' re using my content improperly and I' m not taking myself
to anything and the platform itself would tell you. But you, you'
re using music with rights because you don' t make any profits. Like
me, I' m not doing it with you, because the artist is
in all his legal right to have his work registered. There is the role
of the EPAs, controlling that all of this will be accomplished. That is
the signature of rights that we make, the granting of rights that they make
and then collect those benefits. We would have to say a potest guy to
register all our podcasts there and see to it that we get a certain economic
return and podcast platforms use our content, including ads, because there is perhaps
the real problem. The musicians have been recording all their tunes for decades to
collect those rights, so that there is someone there, someone who represents them
and worries that every time one of their tunes is played, one of their
songs, there is an economic return and it is recorded where and when it
has sounded. However, podcasts, although we have it much easier when it
comes to registering these downloads bar listens, have not so far done so.
And that' s where the real reason comes from why it' s so
hard to include commercial music in our podcasts, if it' s already quite
difficult to keep a record of where they' re playing, where they'
re downloading all our content. Imagine the artists from whom we are using music
without having their permission and without having their right. This is where organizations such
as the GAY are concerned that not all songs or tunes that are registered under
their distribution licenses are misused, because we have to get serious. In an
adult industry and not using it is music, tunes, photographs. Anyway,
everything that' s licensed. We should not use it and the platforms should
not allow it. Many of us are now realizing when we upload our podcasts
or when we recast our podcasts to much more mature platforms, such as Spotify
or YouTube, which are starting to alarm us. In this chapter you used
right- wing music. In this chapter we have silenced this part of the
episode because you hear a melody in the background. There' s a little
piece of a movie in this chapter. This is becoming more common because the
podcasting industry, let' s say, is maturing and is encountering an industry,
a little more careful, such as the audiovisual or music industry of platforms
like Spotify and YouTube. I don' t entertain you any more. I
leave a link to the Global News post c so that you read a little
bit in English is all this reflection that I have done in this case.
They would have used the music and the radio and, little by little,
this cannot be carried into the world of podcasting for the moment. But,
little by little, little by little, we are professionalizing, we are maturing
the market and we will see if within a little bit, because there is
some kind of license or agreement so that we can use musics with commercial music
rights and that we can pass all the benefits or part of the benefits to
the artists that we want to use in ours, our episodes or in our
creations. Thank you very much for following the other side and thank you very
much to Global News FA for this article that today has made me reflect on
how difficult it is to put commercial music in our powers. From you and
now I say goodbye and as every day I go back to that place where
you are right now on the other side of the microphone or