Intro To Music Publishing Part 1: Recording vs Composition
As a music industry professional I work daily with the rights of artists, producers, publishers, writers, and anyone else who controls a music copyright and looking to get paid. One of the most common things I find is how few recording artists, producers, and fellow industry professionals lack the knowledge about music publishing.
Disclaimer: For sake of clarity, what we will be discussing is based on how things work in the U.S., unless otherwise noted. Like most topics, the amount of information can go deep and the details change from country to country. Unfortunately, since I want to help give “insight”, I can’t easily cover it all without numerous side notes, boring overly detailed explanations, and an annoying amount of rest stop breaks that ruin all road trips. Also, for simplicity, I’ll be using terms in a basic, straightforward way. I don’t want to confuse anyone who is just dipping their feet into these topics. Keep in mind there are exceptions, dual meanings, and so on for many terms used once you are more familiar with the subjects.
So, this “composition” you speak of: what is it?
Let’s start with the basics of a “song”. When I teach on the subject, the way I explain to individuals is that you have two components:
1) the recording (also called the master): the audible part of the product.
2) the composition: the underlying written work.
The recording is likely what most think about when using the word “song”. The thing you hear when you flip on the radio in the car or push play on your CDJ at a gig. Easy, right? Now, what lies deep within that recording are the notes drawn on a stave (staff); the notes, sharps, flats, and so on. Perhaps imagining sheet music that sits in front of a pianist. On that paper is the composition! Sadly, this little old friend is frequently left in the cold. Too often forgotten about and lost wandering the streets hanging out with the bad crowd. So, let’s change that!
One way you can think about it is by remembering that a composition can live without a recording but never can a recording live without a composition! Another way to look at it is that you can write a composition, but you can’t write a recording.
Let’s look at it from the point of view of a music producer and assuming all elements of your new song are completely original (i.e. no samples, no replaying portions of another writer’s original material). The moment you launch your DAW (Cubase, FL Studio, Ableton, etc.) and begin putting together notes on screen you are now a writing a composition. This immediately gives you the prestigious title of “songwriter” or if you want to be fancy “composer”! Many producers forget this part because they are focused on the recording being created. You record, mix, master, and solicit the recorded work to a label or to another artist (such as a singer or MC) who in turn will use it as their music bed with their vocal contribution. But did you remember that you also wrote a composition? Well – you did!
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Why is this important?
This is important because besides creating a new and original recording, you are creating a new and original written piece of music. We’re back to realizing the two components of a song: your recording and your composition. To add: each of these components carry their own copyright beginning at the time of its creation. More on that hopefully in a future article.
So now what?
The most central piece to remember here is that you have two pieces when creating a “song”. Each carries their own importance and specific types of royalties. The unfortunate fact that the composition portion is forgotten about will affect the income made by an individual creating music. A lengthy topic itself so more on those revenue streams later!
Until next time!
About the author: Howard Grene (or as he’s known to only himself: “How Hard”) is a hardcore DJ/producer from New York who co-founded the hardcore label Hard Kryptic Records and its parent company Hard X Music in 2006. His two decades in the music industry has seen him work across different areas with a specialization in royalties, licensing, and music publishing. This has gained him enough knowledge to rudely start many sentences with “aaaactually….” when speaking about “the biz”. He has not been invited to many social gatherings because of this.
The original release came out in July 2014 and was created to show how hardcore music is bigger than borders. German producers Braincrushers and E-RAYzor joined forces with US producer How Hard. An accompanying music video further showed the unified hardcore vibe with clips of hardcore events in Germany, Ukraine, Netherlands, United States, UK, and more!
I virtually sat with duo Braincrushers, which consists of brothers Oliver and David, and Ralf aka E-RAYzor after the dust settled on this explosive release to learn about them, their thoughts, on the project, and more!
Worldwide Movement: Remix Project (HKD078)
When did each of you start to create/produce music? Was hardcore the genre you start with?
BC: We started in 1995 with an old mixer and two turntable with no pitch. The mixer was Oliver’s birthday present, our dad came up with it. He played music as a young man and made his money with it. I think he wanted us to do something and tried to give an initial start. It worked just fine. The electronic music wave just came up here, it was new, cool, but not for everybody. We went crazy on hardcore music from the first second! In 1996, we played our first DJ set on a hardcore party. In the early 2000s we started to make our own music on Fruity Loops, and then Reason. Our first release came out ´07 “Little Asses” on G-Net Records.
E: I started producing hardcore with some friends using Fast Tracker in the middle of the nineties. We first only made fun tracks for ourselves, but one time we invited DJ friend of mine, and we made our first serious track. He pressed that one as a test pressing and played it in Bochum Germany at a big hardcore party. The reaction was positive, and that kept me going!
Were there any early influences on your music in the beginning? What about today?
E: My first CD was The Prodigy’s Experience, and the second was Thunderdome II, so you can say I am hardcore since the beginning! I also listened to all the 90s dancefloor stuff, hip hop like 2 Live Crew and DMX. Also, some rock and metal stuff like Linkin Park. All in all, I have a really wide taste of music. I don`t think in genres. There is good music everywhere, it just needs a drive for me, something special, recognizable.
Braincrushers
How would you each describe your styles of hardcore?
BC: We like hardcore music that goes with the times. The better the hardware and software gets, the better the tunes. We listen to and love the old classics, but when we play parties and work on our music, we want to go with times in our own way.
E: As a DJ, my style in hardcore is very diverse. I play everything from the early rave to happy hardcore, early mainstyle from the 2000s, and all the to the new stuff. Depending on the party, I can play everything from slow to fast, from old to new. As long it gets me and in a good mood I like it. I play a lot of tracks with nice melodies, but also “in ya face” tracks. For me, the mixture makes the party.
E-RAYzor
What are you using in the studio these days? Any stand-out piece of gear or instrument?
BC: Nothing special. A keyboard, Cubase, KRK Rockets and a lot of enthusiasm.
E: I don’t have my own studio today. I prefer more visiting my friends’ studios instead, like the Braincrushers’. We can have fun together, and I’m way more creative there versus working alone.
BC: Special to us is the long history of this project. The first release came out in 2014. We started working on this track months before with Ray when he visited us. We couldn’t find suitable vocals, so we asked Howard if he could record something for us. Bit by bit, session after session, element after element, countless nights with less sleep, hurting necks, and a lot of fun, we finally completed the track. Then came the video that Howard did with all the screaming people with different origins and now, all the remixes from artists around the world. “Worldwide” is not just a cool word for the title, the release was actually made worldwide!
E: In the beginning it was just a fun idea, but then we received Trinitite’s first remix from Sweden and said, “Hey, that is just too good to be not released, so what can we do?” As the title of the EP was Worldwide Movement, we thought about who we can also ask for a remix. The Darkheadz from Switzerland are good friends of mine for over 15 years. They were totally into the project, and sent their remix very quickly. Re-Style I knew from many bookings and parties where we met and I love his style since his first record so it was no question to ask him, too. In the end, I think we really have many different remixes with different styles but all of them have to touch and vibe of the original. For me it is always hard to decide which one I play the next!
BC: Actually, every talented artist with the same enthusiasm is welcome! Main thing is to have fun and at the end of the day: good music!
Who else would you love to see remix one of your tracks?
E: For me one of the best remixers is The Viper, so that would be cool!
BC: Noize Suppressor! He is one of greatest interpreters of hardcore. He is a real artist.
Oliver/Braincrushers
From your work on Hard Kryptic, what would each be your stand out track or release?
BC: “Worldwide Movement”, “STOMP!” and “Crush on You“. Honestly, we can’t make a decision!
E: That`s easy! The original “Worldwide Movement” is the best track I ever made! It still gives me goosebumps every time I listen to it, and even play it at all parties!
Any stand out tracks from HKR besides your own tracks?
E: I love all the Braincrushers releases and the Triax vinyl release, but the most outstanding track for me is the Amnesys Remix of DJ Delirium’s “Blazin’ Out Your Speaker”. This one is an absolute masterpiece in my opinion! It also was the first Hard Kryptic release I heard, so it got me into contact with the label. I pushed my favorite record store in that time to order that record because I heard it and totally fell in love.
Triax – Stronger Than Ever (HKR004)
Besides being producers, you’re also established DJs who have played in many festivals and in different countries, including the United States. What different do you see between playing in the U.S. versus in Europe?
E: I first came to New York in 2010 for Speakerfreakz. I thought I stepped out of a time machine! So many different people with wild costumes, much dedication to the music. I felt like back in the nineties in Europe when the whole rave scene began, and everything seemed to be possible. At all the parties I played in the U.S., there where all different styles of electronic music: house, drum n’ bass, hardstyle, hardcore, and even dubstep. The people were so open-minded to everything I played. I started my set with hardstyle and slowly took them to hardcore, and they loved it! It was unbelievable! I will never forget when I ended my set with the Pussyvibes mash-up of the Braincrushers at over 200 BPM, and the DJ after me started a house set at 130 BPM. In Europe that would be impossible!
Do you have any advice would you give a new DJ or producer?
E: Do it for the love of the music, not because you think it`s cool.
BC: Stick to it, don’t give up. Make it with passion.
What is upcoming for you? Any new releases or remixes in the works?
BC: We always are working on something. Stay anxious! Tracks are in the works. Hopefully another banging release on HKR!
E: Not yet, but hopefully I will find the time to get back in the studio soon to make some serious noise!
Hardcore is a genre that has been a part of my life since I was a teenager. I’ve always loved hard and aggressive music and still listen to metal, punk, or whatever gets my adrenaline flowing on top of my daily hardcore headbanging. To be able to be a part of the history of this amazing genre is incredible. Here are five of my top picks from Hard Kryptic’s catalog.
“The Pit” is the record that started it all for Hard Kryptic and the next step for me in my music career. I remember first writing the melody on “The Pit”. I had the kick drum and was playing the melody on loop. It was one of those melodies that I played out of thin air and that was it. It’s a simple and chromatic melody, but catchy. The overall theme of the song is fun, but when the melody and kick came together, it’s aggressive. Ten years after that album’s release, it was beyond exciting to re-create the song with my buddy J Root. The original mix of “Return To The Pit” is a complete re-imagining of the original track. I recorded new, original vocals and guitars with my buddy Spikey Jay. I’m still blown away by the magic we had on it. Then the remixes are beyond incredible! Ophidian took the melody and worked his magic. I can’t get enough of it! Braincrushers were the first guys I wanted to put their touch on the track and they didn’t disappoint, taking those guitars and making a headbanger! Vi Ta Lee came through with a unique, low tempo remix that bangs. Section IX dropped a strong rawstyle remix utilizing “less is more” when it comes to making a banger. Silent Humanity came through with a doomy, techy version that made a lot of use of the original Pit melody with the new vocals. Finally, we remastered the DJ Delirium remix from the vinyl record. There’s also a re-release of two remixes of two tracks that appeared on the original vinyl (“Suck A Fuck”) with a Neural Damage remix and a Neverlution remix of “Revenge” on the digital bonus edition.
It always exciting to see how an artist can interpret another artist’s work. You could simply rearrange channels, add a few elements to it, or go all out to create something completely new out of the original song’s elements. The idea of RMXD came about as a fun way to have artists remix another. First, I did a remix of Komarovski’s track “Viva La Revolution”, and in return, he did a remix of my track with J Root called “Origin Unknown”. Another remix, also with J Root, called “Listen!” was done by none other than Dither. I forget at what point Hard Essence came into the picture for this project, but I’m glad it did! That didn’t leave my bag for who knows how long! Overall, this is a release where every track was constantly on my setlists. Even to this day, I’ll pull out Dither’s remix or Hard Essence’s remix with no second thought that it will rock the dancefloor.
“Defined By The Melody”, Hard-Tex’s first release with us, is an incredible EP, but his 2016 Art of the Melody album is what really makes him really shine. Hard-Tex is a melody machine, and this shows it! “Opposites”, “Trapped In Despair”, “Art Of The Melody”, and “Out Of The Ordinary” are stand-out tracks. When you look at the album as a whole, there isn’t one filler track on this release. There’s collaborations with people like Outrage, Psychoforce, and even li’l ol’ me, plus remixes by Embrionyc, Komarovski, and Neverlution. This album proves Hard-Tex has the talent that is in-line with the best out there.
Braincrushers, E-RAYzor, & How Hard – Worldwide Movement
Braincrushers – Awakening
Braincrushers – Automatic Leg Spreader
The title track on “Worldwide Movement” is the one track that even if my name wasn’t on it, would still be a song that continue to be on my tracklists for years and years. It was an incredible project to be a part of with Braincrushers and E-RAYzor, and something with a positive message behind it. Hardcore and music in general bring people together. No matter who you are, someone in another part of the world could be listening to the same song as you and feeling that same inspiration. This track was our way to celebrate that. The music video that accompanied the project had footage of hardcore events from different parts of the world. The rest of the release with the two Braincrusher solo tracks is also great. “Awakening” has a dark, trancey melody that I love and reminds me a bit of Miss Hysteria—who I’m a big fan of. “Automatic Leg Spreader” is a slower but bouncing track that is a great set starter. With the recent release of “Worldwide Movement: Remix Project”, we took this already amazing track and added some incredible remixes by artists like Re-Style, Dark Headz, Trinitite, and more.
Komarovski’s first release with HKR “The Melody Within Me” really blew me away—right from the moment I was first given the demos. I always loved the marriage between hard and melodic, and Komarovski is a master at this. Like Hard-Tex, Komarovski is a pro at uplifting melodies on top of aggressive kick drums. Before Hard Essence did their remix of “We Don’t Give A Fuck” on RMXD, the Braincrushers boys remix was in heavy rotation when I played out. Even if you weren’t a fan of hardcore, this EP would still make your ears perk up. All of Komarovski’s tracks have been great, but when I look back at releases that made me stop in my tracks, this was one of them. Can’t recommend this one enough when talking about the history of the label.
About the author: How Hard is a hardcore DJ/producer from NYC who co-founded the hardcore label Hard Kryptic Records and its parent company Hard X Music in 2006. He enjoys long walks on the beach and is totally not afraid of flutes despite what you might have heard. It’s called aulophobia, and it’s a real thing.
Dedicated to the harder sound of electronic dance music.
