The first thing you need to do when starting your music podcast is to define the purpose of your show. You need to figure out what type of content you want to share with your audience, and how often you wish to publish it. Once you have this information in mind, it’s time to start thinking about how much time and energy you can dedicate to this project.
Once you have answered these questions, it will be easier for you to decide if a music podcast is something that suits your needs and interests. If so, then it’s time to start thinking about what kind of equipment and software options are available for someone who wants to start their music podcast.
Several different types of equipment can be used for producing a podcast:
Recording device – This includes anything from a smartphone or tablet up through professional audio recordings equipment such as microphones, mixers, or even field recorders like portable digital recorders (DDR). It also includes audio editing software such as Audacity or GarageBand which allow you to edit together all of the different tracks into one cohesive piece of audio.
Podcasts can be a great way to promote your music, but you must create a show that people will want to listen to. Here are some tips for getting started.
1. Create Your Show Theme
The first step in creating your podcast is deciding what kind of show you’re going to do. Are you going to focus on interviews with other musicians? Or maybe you’ll just play music from your favourite artists? You could even record yourself playing live shows or talk about the equipment you use to make music. The key here is to pick something that interests you and that you’re excited about talking about — this will make your listeners feel more engaged with the show as well.
2. Pick Your Format
Once you’ve decided what type of podcast you want to do, it’s time to decide on how often it will be published and how long each episode will be. This is entirely up to you and depends on how much time and effort you want to put into each episode. Some formats work better than others depending on what kind of content they include; for example, daily podcasts tend not to work as well because they require a lot more effort than weekly ones do (and there’s probably not enough news happening in one day).
3. Create Your Episode Content
Now that you have a podcast idea, it’s time to get cracking.
Before you record your first episode, you need to think about the content and format of your show. If you’re starting as a solo podcaster, try coming up with ideas for different types of episodes that appeal to your audience. This could be interviews with other musicians or artists in your field, a songwriting tutorial or a live recording of one of your gigs.
Decide how often you want to release new episodes and plan accordingly. If you’re planning on releasing a new episode every week, then you’ll need to have most of the content ready before you start recording (or at least have an outline ready).
Once you’ve decided on what type of content each episode will include, it’s time to start writing it down in detail so that it’s easy for others to follow along with when they listen back later on.
Here are some of the equipment you’ll also need to get started.
Microphone:
A good quality microphone is essential, and it doesn’t have to be expensive. You can get a decent USB mic for under $100 ( N41,000) in Nigeria money
Software:
You’ll need a recording program such as Audacity or GarageBand, and something to edit your audio with (such as Adobe Audition).
Headphones:
Headphones are essential for monitoring your recording levels so that you don’t overload any one channel when you’re mixing multiple tracks.
Market and Analyze Your Audience
The first step in starting a music podcast is to have a good idea of who you’re talking to. This means you need to know what your audience wants, what they’re interested in and how they consume media.
You should also consider their demographics. If you’re going for a specific group of people, such as women aged 18-35 who live in the suburbs and listen to pop music, then the topics you cover and the way you present them must be tailored to those people’s needs.
For example, if your audience doesn’t care about politics or religion, don’t spend too much time on those topics during your show. Instead focus on things like movies, technology and entertainment news that are relevant to everyone but most interesting for your target group.
4. Growth
The podcasting industry has grown at a massive rate over the past few years. A recent report by Edison Research and Triton Digital found that there are more than 500 million monthly podcast listeners in America alone. That’s a lot of potential listeners!
Podcasting is not only an incredible way to share your message with the world, but it can also be a lucrative business model if you know how to do it right. In this article, we’ll show you how to start a music podcast and what steps you need to take along the way.
Step 1: Find Your Niche
The podcast is a medium that has grown exponentially in recent years. The most popular podcasts are downloaded millions of times every month, and there are even shows that are so popular that they have been able to make the transition from audio to video.
So why has this medium become so popular? And what can you do to capitalize on its growing popularity?
The growth of the podcast
The first time I heard someone talk about podcasts was back in 2005 when Apple released iTunes 4.9 with support for podcasts. At the time, there were only a few thousand shows available and most people didn’t know what they were. Fast forward ten years and we’re looking at over 700,000 podcasts and new ways to listen to them such as streaming services like Spotify or Google Play Music All Access.
There are many reasons why podcasts have grown so much over the years:
The ease of consuming content through your phone means it’s easy to listen while doing other things like driving or working out. You don’t need a dedicated device like an iPod or CD player anymore because everything can be done through your smartphone (or tablet). It’s also convenient because it doesn’t require any extra equipment like a stereo system or headphones – just open up your favourite app, find something interesting and We hope that this article has been useful in answering some questions related to how and why to start a music podcast. If you have any comments or further suggestions on how new music podcasters could improve their results and presentations, we are happy to hear from you in the comment section below.
An A&R manager’s main job is scouting out talent and signing them to a record contract. The A&R Manager is also responsible for developing the style of an artist and matching them with producers, songwriters, recording studios, and clothing designers. They are instrumental in helping artists get public exposure through industry networking, performances, demos, and recordings. Often, they will also assist artists in managing their careers.
There are infinite definitions of an A&R manager. The job description primarily reflects the skill set of the manager, not the actual work involved. Some would say that an A&R Manager is in charge of identifying artists and repertoire while others believe they’re responsible for all aspects of songwriting and copyrights. Either way, certain traits make a good manager.
As an A&R, you’ll be responsible for the entire talent discovery process. This is both a challenging and rewarding role, as you’ll be working with some of the most talented individuals in your industry. Can you keep up with the ever-changing trends in music? As an A&R manager, you’ll need to have a professional manner but also act fast on new talent. This will often require negotiating terms between record labels and artists.
With an A&R career path, you will be in charge of the record label and its employees. You will make all the major decisions about what music is released for the label and will make recommendations to the executive team. These positions are as competitive as they are sought after, making this position rare but desirable.
Most high-profile music supervisors are freelancers who work on a project-by-project basis. However, music supervisors can also be employed by production companies; film, television, and video game studios; advertising companies; or even small music-supervision companies. The majority are based in Lagos Nigeria.
Unsurprisingly, work hours for music supervisors vary considerably. As they don’t necessarily need an office for their work, many works from home or do the majority of their job on the go, moving from meeting to meeting. On the other hand, music supervisors who are acting as full-time music directors for a show or movie tend to be much more involved in the filming process and almost always spend some time on location.
A&R managers are exceptionally well-organized, detail-oriented, flexible, and punctual, with impressive multitasking abilities. Signing and cultivating talented new artists requires patience, judgment, interpersonal connections, and persuasive written and spoken communication skills. In addition, managers are well served by strong leadership qualities and should possess a vision for the careers of artists under their wing.
Most A&R managers work for medium-sized to large record companies and music publishers. When hiring an A&R representative—the position which precedes working as an A&R manager—companies tend to look for work or internship experience in the music business, as well as demonstrable engagement in local and national music scenes.
Are you an aspiring A&R? Do you want to learn the ins and outs of the role, see how it fits in the industry, and how and a job? Well, you’re in luck. We’ve assembled a comprehensive breakdown of the a&r career path that will guide you from your first day on the job until your retirement and beyond. We know what happens to most of today’s great artists and songwriters—but what happens to their song ideas, unfinished recordings, and unrealized careers?
The fact is, you are going to have to work hard if you want to be a successful A&R (artist and repertoire) But who said that was an entirely bad thing? Hard work isn’t just a requisite for success; it’s also the foundation of your musical skill set while this may not be a popular idea, the truth is that all of the artists and repertoire will tell you the same thing. Consistency, determination and a willingness to do what it takes are key traits among those who reach the top. That’s not just good advice for A&R—it’s good advice for any endeavor in life. Sign up with A&R DUTY and start shooting for success today!
Written by Babatunde Makinde Williams
Chinko Ekun was a musical gem that was left undiscovered for way too long. With his brand new song “Feeling”, he’ll be slipping into the spotlight and quickly becoming an artist you’ll be telling all your friends about. The record is done on an acoustic beat that will get you pumped up to take on whatever challenge is in front of you, whether it’s just getting up out of bed or going for that big promotion. Chinko’s lyrics are filled with the kind of witty puns you haven’t heard since the days of Biggie Smalls, bringing a fresh sense of creativity to the hip-hop genre. With this song, Chinko is throwing down the gauntlet and challenging other rappers to step up their game. He showcases his unique style while proving that he can rap circles around any other artists out there .
Royalties are the lifeblood of music publishing. They’re what you get paid for when someone uses your song in their project—like a movie, TV show, or commercial. But there’s more than one type of royalty involved in music publishing, and each one is based on the use of your music. In this post we’ll go over three types of royalties you should know about:
Mechanical royalties are paid to songwriters and music publishers when their songs are recorded and sold on a CD, vinyl record, or digital download. Mechanical royalties are shared with the artist who performed the song (if applicable), as well as record companies who invest in producing and distributing it.
Songwriter royalties are paid when you write your own music, while publisher royalties go to whoever owns the publishing company that controls your work (often your manager).
Performance royalties are paid to songwriters and publishers when their songs are played on the radio, in restaurants, bars, or other public places.
Performance royalties are collected by ASCAP (American Society of Composers Authors and Publishers) BMI (Broadcast Music Inc.) SESAC (Society Of European Stage Authors & Composers) SoundExchange.
Synchronization (or “blanket”) licenses are a type of music publishing royalty that allows an artist to be paid for their songs being used in the film, television shows, and commercials.
A synchronization license is typically bought by a music supervisor who works for the producer of a movie or TV show. They’ll listen to several songs before deciding which ones fit best with their project’s storyline and theme. When they select one song from an artist’s catalog and decide to use it in their project, they contact that artist’s publisher requesting permission to use their song(s) under license terms agreed upon beforehand by both parties (the publisher and artist).
Understanding the different types of royalties in music publishing is key to getting paid.
Royalty is the money or percent of the amount being earned from a published work, that is allotted to the publisher once a sale is made. The percentages will vary based upon several different factors, but suffice it to say, they are a very good way of making additional income, provided that you have established rights to your music through publishing.
I hope that in reading this article you have gained a better understanding of the many different types of royalties involved with music publishing. This is just a basic explanation but they are quite complex, and many things can occur when you are talking about publishing. I urge any individual who is considering entering the world of music publishing to seek out more information before doing any deals with publishers because it could cost you thousands later on down the road. Have fun writing your songs, and remember these important points!
Since we started back in 2006, we’ve always made artists our first priority. This new feature helps artists, managers, and indie labels track measurable success on TikTok, and we’re stoked to be able to offer it before anyone else.
“How people are consuming and interacting with music is evolving at such a rapid pace. As a distributor, it’s critical that we move quickly to get this data into the hands of our clients so they can maximize their reach. Our team is laser-focused on delivering value and we’re excited to be the first distributor to offer this level of insight into TikTok data,” says Symphonic VP of Product, Ali Lieberman.
This tool makes it easier for creators to understand the TikTok metrics that really matter and helps maximize the impact of their future TikTok marketing campaigns. Importantly, Symphonic’s proprietary TikTok analytics makes the distinction between views and creations. While view counts get a lot of attention, it is creations that actually drive royalties on the platform.
The new tool delivers comprehensive and easy-to-read metrics on how many videos have been created using an artist’s music as well as how many views, likes, comments, and shares the video generated.
Navigate to this feature by clicking on Analytics -> TikTok
The landing page provides a catalog-level view of performance across the entire catalog on a given date range that you can change. The page is broken down into the following cards:
Activity counts are displayed for Videos and Views. The video count is the metric that generates royalties. Hovering over any bar will show you the detail of a specific day.
Activity counts are displayed for each time the video using your music receives a Favorite, Comment, Share, and Like during the time period selected across your entire catalog.
Each section shows the top 5 entries sorted by Videos (created) in descending order (e.g., the Territory section shows the top 5 countries where videos were created on TikTok using your songs). Click the ‘View All’ button to see more data if available.
Source symphonic distribution
If you are trying to beat the Spotify shuffle algorithm, you need to remember their 30-second rule. Your song should grab the listener immediately and make them stay for more than 30 seconds. Otherwise, regardless of how many listeners initially listen to your song, it won’t count if they don’t pass that first 30 seconds. Also, remember that timing is everything on Spotify. For example, the first 12-24 hours after your track drops are crucial to your success or to gaining momentum.
One of the better ways to get the algorithm to notice you in this timeframe is by getting a pre-saves boost before your release date. Besides that, you have to pay attention to the competition, such as similar artists who may also be applying the same strategy. For example, you want to avoid dropping a track on the same day as famous artists. By avoiding this, you can naturally increase your chances of beating the algorithm. If you want to know more about how important connecting is, then feel free to read our blog post-ON
I’ve been a Spotify user for years, and I’m always learning new things about it. The best part of using Spotify is that it’s constantly improving thanks to its algorithms — and you never know what you might discover next! In this article, we’ll discuss how the Spotify algorithm works and how it affects your listening experience on the service. We’ll also explore how you can use your personalization algorithm to improve your Discover Weekly playlists.
The reason why it’s secret is that Spotify does not disclose the algorithm to the public, and it’s constantly changing. The Spotify team updates it whenever they find any flaws or bugs in their system, so you never know what will happen next with your music.
The algorithm is made up of many algorithms working together to deliver you the best possible listening experience. It uses machine learning to improve itself over time.
In addition to your listening habits and social media activity, the algorithm also considers how other users are interacting with your music.
Spotify uses all of these factors to create a personalized experience for each user. This means you might see one kind of playlist in one week and something completely different the next time you log on–but that’s okay! You can always find what you want on Spotify if you know where to look and how best to use their tools (like those featured here).
Spotify’s algorithm is what drives your Discover Weekly playlist.
Discover Weekly uses machine learning to recommend songs to you. It is a personalized playlist that is based on your listening habits, so it can help you find new artists and genres that you might like without having to spend hours searching for them.
There are two kinds of algorithms — personalization and discovery. Yours does both!
Personalization is about making your experience on Spotify better. It’s what makes the app feel like it knows you so that it can recommend music that fits your tastes and moods, or help you find new artists to love. Discovery is about finding new music that you’ll love: whether it’s an album by a band you’ve never heard before or an artist with whom you share friends on Facebook (or both).
The Spotify Algorithm is constantly changing. The way it works is that, as a creator, you want to make sure that your music is being heard by as many people as possible. This means uploading new songs and promoting them through social media channels like Instagram and Twitter. It also means getting your fans involved by sharing links with them so they can listen before they buy!
Once you have all of these things in place, then comes the hard part: waiting for results from the algorithm. While there are no guarantees when it comes to what will happen next (or even if), there are some things we know about how this process works at its core level–and we’d like to share those tips with our readers here today!
Building an audience for your music isn’t easy, but it can be done. In this post, we’ll explore how to build a fanbase from scratch. We’ll go over the different types of fans you want as well as how to get them, and then we’ll talk about strategies for success with each type.
When it comes to building a fanbase from scratch, many aspiring musicians have the same question: how do I get people to follow me?
To answer this question, we’ll look at some of the most common mistakes that new artists make when trying to reach out beyond their initial social circles. We’ll also examine what kinds of things you should be doing and saying on your social media channels to gain followers and fans who are genuinely interested in what you have to offer. If you’re looking for more detail about creating an emotional connection with your audience at large, check out our article What Is Fan Engagement? How To Build A Fanbase From Scratch.
There are three types of fans that you can build.
Don’t take anyone for granted. You may be the most important person to yourself, but don’t ignore the people around you.
Don’t just focus on your fans. Focus on your music, brand and business too!
Don’t just focus on your music. Focus on social media and email marketing too!
One of the best ways to build a fanbase is by being yourself. When you’re building your brand, it’s important that people can see who you are and what makes you unique. To do this, there are some steps that you need to take:
Social media is a great way to engage with your fan base, but you shouldn’t post constantly. Posting consistently is the key to building a fanbase.
When you start your podcast, you’ll likely have a goal in mind for the size of your audience. Maybe it’s 100 downloads per episode or 1,000 listeners on any given day. Whatever the number is, don’t get too hung up on it:
It’s important to realize that numbers aren’t everything when it comes to building an audience. The quality and engagement of your listeners are much more important than the sheer quantity of them. If two people follow you and engage with each episode then they’re going to be more valuable than 100 people who just listen passively without commenting or interacting in any way with what they hear (or worse still don’t even download episodes!).
Live shows are a great way to build an emotional connection with your fans, and they’re also a great way to build trust. Your fans will know you’re not just making stuff up in the studio or on the Internet they can see for themselves that you’re real and that what you do is worth listening to.
Live shows also give people a chance to connect with you in person, which can lead them down the path of becoming your biggest fan (and perhaps even becoming your friend). If someone enjoys meeting up with other people who like something they like, then they’ll probably want more opportunities like this one.
If all else fails, ask them if they’d be willing to help promote your show! This works especially well if there’s something fun or interesting going on at the venue where it’s happening (like free food).
Collaborating with other artists is a great way to build your fanbase. When you collaborate with other artists, you can gain exposure, receive feedback on your work, make new friends and learn new skills.
I’ve collaborated with many people over the years. Some of my favourite collaborations were when I was in college and made a music video for my song “Life Is Good” with the band The Rival Rockets in 2011. This helped me gain exposure because it was shared on social media by more than 100 people who were fans of both bands at the time. It also helped me receive feedback on my work because we had a few rehearsals before filming so that we could make sure everything worked out well during filming as well as post-production editing work afterwards.”
Giveaways are a great way to build your fanbase! But you have to do it right.
First, it should be fun. People love free stuff, but they don’t want something lame—they want something cool. When you’re giving away a prize that’s only worth $5 or even $1,000 (yes, we’ve seen artists do this), the contest has to be interesting enough that people will pay attention and share with friends so they can win too! If you can tie the game into some aspect of what you’re doing as an artist or brand then even better: if someone likes your music they’ll probably like anything else related to it too!
You should also make sure it’s something relevant—don’t just throw anything out there because “it could work.” Make sure whatever prizes/giveaways are available to fit well with what your fans want and love about themselves because then when people see them they’ll feel good about themselves too which means more fans joining up with us later down the line when our careers take off thanks again, guys!!
Building a fanbase from scratch can take time, so be patient and persistent. Don’t get discouraged by the slow progress at first, because it’s normal to feel like you’re not making much progress when you’re just starting. As long as you continue working hard and stay consistent with what you do, then eventually your efforts will pay off!
A song is a simple composition of music, words and melody. It usually has four elements:
The melody of a song is what makes you remember it. It’s the tune, the whistling part that everyone can sing along to. The melody is usually composed by the composer and then performed by either a singer or an instrumentalist (like a piano player). The melody is written in the key of your song which means it’s written to fit in with all of the other chords you’ve chosen for your chord progression.
As you can see, the process of earning royalties involves paying the author, composer, and publisher. In addition, it’s possible to earn royalties based on your ownership of intellectual property. Your ownership of a copyright or composition could mean receiving royalties from digital downloads and streams on platforms such as Spotify or Apple Music. However, if your song is used in TV commercials or movies then there might be additional opportunities for earning money in this way as well.
As a producer who works with other songwriters, I am often asked how much money is made from royalties and where it goes when someone writes songs together. If you’re interested in learning more about how royalty splits work between writers/producers let’s take a look at some examples:
In Nigeria, Royalties are defined as money paid to an author, composer or publisher for each copy of a work sold or a license to publish or broadcast it. Royalties are usually paid by the copyright owner. For example, the songwriter (the writer) might receive a royalty from the record label that publishes his/her songs and distributes them to music stores and radio stations. The publisher is responsible for paying royalties on behalf of their artists who are not yet famous enough to sell their records but whose songwriting talents have been recognized by publishers who wish to profit from these talents by publishing their works instead of allowing them free access in similar situations where they would have had no choice but accept whatever money was offered in exchange for letting others use their songs freely without being compensated fairly
Copyrights are exclusive rights under which owners can utilize their creative works in different ways. They are protected by law, granted for a limited time, and can be sold or transferred.
The two main types of copyrights are sound recording and composition. The sound recording copyright refers to the actual recording itself (i.e., any sounds that you’ve captured on tape or digital media). At the same time, a composition is an actual song itself (lyrics, notes, etc). Each type of copyright has its own set of rules regarding how they should be split up among those involved with creating it; however, several factors can affect how royalties will be distributed when it comes down to sharing credits as well as money earned off sales.
As the owner of a copyright, you may choose to sell or license some of your rights to others for a specific period. The author might grant a publisher the right to publish their book in exchange for royalties, or an artist might grant their record label the right to produce and distribute their record in exchange for royalties. This is called “transferring” rights because those who obtain them are now considered another party with certain privileges and responsibilities that include payment of royalties (usually an ongoing percentage). Copyright owners can also decide not to transfer all their rights when they license something—they may keep some but not others to retain control over how it’s used as well as its quality and integrity.
The majority of songwriters make money from songwriting royalties (50%) while producers typically earn most if not all of their income from producing records (90%). It’s worth considering if you want someone else taking charge while letting them get paid instead.
The creator of a song holds two copyrights for that song; one for the words and music (the composition), and one for the recorded version (the sound recording)
The composer and performer are both entitled to a royalty payment based on their contribution to the overall work, but they are not entitled to any portion of each other’s royalties. The writer is only entitled to his or her share of publishing income.
When it comes to songwriting, there are many different types of royalties. The first type is called mechanical royalties and covers the use of music on CDs and in other forms of sound recordings. For a songwriter or composer to receive these royalties, they must be registered with one or more performing rights organizations (PROs) in their territory before the work is published.
There are also performance royalties which cover any public performances of your work through radio play or TV broadcasting that don’t fall into the category of mechanical rights licensing such as live concerts, festivals etc…
How are sound recording royalties split into a song “Producer Points” is a term you’ll come across if you are researching how your royalties are split. They are the percentage of the royalties the producer of your song is going to get from your sound recording royalties. It’s usually major record deals that work with this point system. If you are an indie musician, you probably won’t need to worry about that. Producers typically get anything from 3 to 7 Producer Points. That means that if the artist gets, for example, 20% of the royalties in a record deal and the producer gets 5 points, the producer is getting 25% percent of the artist’s share of the royalties. That’s because 5 points equal 25% of the artist’s original 20%. The label still keeps 80%. For indie recordings, the system is usually based on the percentage of the net royalties, not on producer points. In an indie deal, the producer may get, for example, 20% or 25% of the artist’s net royalties. The result is not that different from the point system, where 5 producer points out of the artist’s 20 points equals 25%. The producer may also get an upfront fee for their recording services. This fee is negotiable and can vary depending on the producer’s percentage of the net royalties. If you have money for a larger upfront fee, say $2000, you may negotiate a smaller percentage of the net royalties for your producer. The same works if you don’t have that much money for the fee. You can negotiate a smaller upfront fee and a larger percentage of your net royalties to your producer.
If you are an independent artist and you already know what are royalties in music, it’s time that you understand how are royalties split on a song. There are different categories of royalties in music, like Performance Royalties, Mechanical Royalties, and Sync Royalties. They can either be reserved for the songwriters and the publishers, or for the artists that played on the master and producer. In some cases, the same royalties go to both parties. If you are the only songwriter of your music and you record and produce it on your own, the royalties are all yours! You own 100% of it. However, if there are more people involved in the making of your art, you should probably know how your royalties will be split.
If you’re a music artist who wants to use YouTube to share your work, chances are you’re already familiar with copyright. However, if you’ve ever wondered how YouTube’s Content ID system works or how it affects artists’ rights and responsibilities, this quick guide will get you up to speed.
Content ID is a system that allows copyright holders to find videos that infringe on their content and either block them or allow ads on them.
How Content ID works:
If you dispute a claim, you can either provide evidence that the content in question isn’t yours or argue that it is fair use. If your video doesn’t have any audio or visual elements from the original work, for example, and therefore cannot infringe on the rights holder’s copyright, then this will be easy to prove. However, if there are elements from another creator’s work in your video that aren’t covered by fair use laws
Once you have your Content ID account and have uploaded a reference file for your work, it’s time to make sure that YouTube doesn’t mistakenly identify other people’s content as yours.
The YouTube Content ID system scans uploaded videos and compares the content to reference files in Content ID before they’re available to view online. The system is automated, so it can identify copyrighted material even if it’s been altered or manipulated after an original was created by a third party. The fingerprinting system identifies copyrighted material and then matches it against reference files owned by rights holders.
Here are some tips for music artists who want to use copyrighted material in their videos:
You may be surprised to learn that YouTube does not require you to have permission for using someone else’s music in your videos. However, the video hosting service does require you to have permission from the rights holder if you plan on monetizing your video or being paid directly by a third party. If you don’t have this permission, you could easily run afoul of copyright law and get hit with a copyright strike.
You may think this only applies if you’re making money off of your content on YouTube, but it applies even if your channel is just an amateur hobbyist project. If someone has posted their music on YouTube and doesn’t want anyone else using it without getting paid (or at all), then they can report it as a violation and potentially get their music removed from your channel!
If you do want to use someone else’s work, make sure that they are permitting you to do so.
The Content ID system is how YouTube allows copyright holders (like record labels and movie studios) to find videos that infringe on their content and either block them or allow ads on them. When a copyright holder uploads a claim with a reference file of the work they want to be protected, YouTube automatically scans all uploads for matches based on audio and video fingerprinting technology, which compares your video against others in its database looking for similarities in the audio or visual elements of those other videos.
If the Content ID matches your video against other uploaded files that have been submitted by copyright holders as reference files, then one of three things will happen:
If you’ve received a copyright claim from your video and you believe that your use of copyrighted material is permissible under fair use, try filing a dispute here: https://www.youtube.com/yt/copyright/fair-use.html#
When you file a dispute, YouTube will review the content that was claimed on your video and make a decision based on several factors, including:
Much of the information we’ve discussed in this article should be common sense. There are a few key points that we want you to remember:
Never download videos from unauthorized sources and repost them on YouTube or any other platform. This is a copyright infringement and will get you into trouble (not to mention it can hurt your channel).
Make sure that you have permission from the rights holder before using any copyrighted material in your video. If there’s any doubt about this, contact an attorney for advice on how best to proceed with your project.