Topic
Creative Commons gives you six licences built from four elements, plus a public-domain tool called CC0. For musicians, two of those elements matter most: NonCommercial (NC), which shuts out most paid uses, and NoDerivatives (ND), which under the licence text blocks sync to video. Here is what each one allows, and what to pick before you release.
Workflows
Streaming a gig touches two copyrights and two very different moments: the live broadcast and the archive left behind. Here is what YouTube, Twitch and Meta say about music in live streams, how strikes and DMCA counter-notices work, and a setup that keeps a cover set from costing you your channel.
Workflows
EU law lets you reserve your music from commercial text and data mining, but only if you say so in a way a machine can read. Here is what the law says, what robots.txt, TDMRep and written notices each do, where they fall short, and the order we would set them up in.
Workflows
A performing rights organisation (PRO) licenses the public performance of songs and pays the writers and publishers. Here is what that covers, how joining works at the big societies in the US, UK, Germany and India, and the income streams a PRO will never collect for you.
Workflows
A producer deal is usually two things at once: who owns what the producer made, and how the producer gets paid. Here is how fees and points fit together, what "work made for hire" really means under US law, and how a SoundExchange letter of direction routes a share of radio royalties to the producer.
Workflows
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