If you're making any sort of production where you want to utilize my music under any sort of still imagery, video footage, or even as background music on a website, you have to obtain two licenses:
The Sync License can be obtained by emailing my publishing representatives at Concord Music, found on my Contact page. The Master Use license can be obtained by emailing me directly at mail[at]christophertin.com. This is true regardless of whether it's a for-profit or charity video.
I'm very open to being sampled, and have been sampled in the past by artists from a wide range of genres, from hip-hop to EDM. In order to sample one of my songs, you'll have to get the same two licenses you would if you were looking to license it for use in a film, TV show, commercial, or video game:
The Sync License can be obtained by emailing my publishing representatives at Concord Music, found on my Contact page. The Master Use license can be obtained by emailing me directly at mail[at]christophertin.com.
Bicycle Music Co. is the publishing arm of Concord Music, my publisher, and you most likely got this message because you uploaded a video to the internet that uses music that is either wholly or partially owned or written by me. In all likelihood, the video won't be taken down, nor will you be in any trouble from a copyright perspective. However, you may now see ads on the video.
Yes please! I love seeing them! But make sure you credit 'Christopher Tin' as the composer, in addition to the name of the piece, preferably in the video title. Also bear in mind that my publishers, Concord Music/Bicycle Music Co., will potentially run an ad on the video. Also, if this is a new arrangement of my music, please see below.
If you're creating a new sheet music arrangement of one of my works for public performance (i.e. school concert, church concert, etc.) you'll need to get a simple arranging license from Hal Leonard. Just bear in mind that there are a few conditions:
It's a convention borrowed from the film scoring world. When you're recording scores for film, TV, or video games, the orchestra players don't get a chance to practice the music before the session; they just show up and sightread it. Omitting key signatures and just putting the accidentals in the bars makes it easier to sightread, particularly for pieces that are highly chromatic, or modulate frequently.