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About Indigi
1. What are the primary agreement terms with your writers/composers?

Our catalogue consists of mainly exclusive tracks/songs specifically for the InDigi Music Catalog. We do not charge any fees for you to submit music, but we also CANNOT guarantee that there will be any placements through us.

EXCLUSIVE TRACKS/SONGS:
InDigi will enter into Co-publishing agreement with you on an exclusive basis, where InDigi will own 25% of the song (50% of the Publisher Share) and administer 100% of the Publisher Share based on Worldwide, in Perpetuity. This means that the music will only be available through InDigi Music and all licensing will go through us. Additionally, although InDigi Music will not own any masters, you will be required to sign a Sound Recording License Agreement with us, which will allow InDigi Music to collect 50% of any applicable Master licensing income that we receive upon placement of your music.

Easy Split View:

Exclusive:

50% Writers/Artists (100% of the Writer Share)
25% Writers/Artists Publishing Designee (50% of the Publisher Share)
25% InDigi Music (50% of the Publisher Share) InDigi owns 25% of the song and 100% of the Publishing, all licensing matters are handled through InDigi.

2. Will you let me know when my music has been used and do I get to approve the use of my music before it gets placed?

In most cases, we are unable to notify artists before a program has started airing. In fact, many times, we do not receive cue sheets from clients until well after the production first aired. You should not expect to be informed by us where your music has been used until the use shows up in a statement (either from us for upfront licensing fees, or through your PRO for backend performance royalties).

3. Will I find out if my music has not been accepted by InDigi Music?

For the most part, we work with writers/composers/artists who do not make the cut on the first shot and we encourage you to keep submitting until it sticks. However, if we find that there are other variables that are keeping you from being part of the InDigi catalog, we may just call it a day.

4. Do you deal with foreign/international writers and artists (writers and artists who do not have a valid U.S. Social Security Number or U.S. Federal Tax ID Number)?

Yes. However, writers/artists who currently do not have a valid U.S. Social Security Number or U.S. Federal Tax ID Number, may submit music to InDigi Music on an EXCLUSIVE basis only. You will be required to enter into a publishing agreement with InDigi Music, where we will own and administer 50% of the copyright (100% of the Publisher Share) based on Worldwide, in Perpetuity.

Foreign/International writers/artists will also need to complete the most recent W-8Ben so that in the event that payment is forthcoming, any additional payment for tax purposes is not withheld. Alternatively, you can look into filing an application for an ITIN# through the IRS (form W-7). For more information: Click here: http://www.irs.gov

5. What is your preferred method of receiving music submissions?

We like to receive commercial album releases on CD in the mail (usually includes finished, album artwork and all).

Please include artist and record company (or if self-released), writer(s) and publisher(s), PRO (performing rights organization) affiliation and contact info. If you are not affiliated yet with a PRO, don't worry...we can assist you with the registration process.

For all other music, please see our Submit Music Section for further information.

6. What are some ways I can earn income on licensing my music for Film and Television?

1) A Synchronization License fee (also known as a "Sync" License fee) on the "front-end" which is a fee for the actual use of a composition in a film, TV program, Video Game, commercial, etc.

2) A Master Use License fee on the "front-end" as well which is a fee for the use of the actual Master sound recording for the actual use of a composition in a film, TV program, Video Game, commercial, etc.

Both a Sync and Master Use agreement can be lumped into one license if the Master and Copyright owner are the same person or entity. This is often preferred due to the ease of licensing, but normally, there will be at least two different Licenses issued by two or more parties.

3) A Public Performance royalty on the "back-end" which is a royalty for the "public performance" or "broadcast" of a song that is aired over a television or radio station (including cable and local) as well as foreign theaters. Performance royalties are not collected for the use of music on films in movie theaters within the United States. These royalties are collected by the Performing Rights Organization (PRO) and distributed to the Writers and Publishers of the song that has been performed publicly.

There are other ways to earn income (i.e. soundtrack album, compilation albums, etc.) which involve other grants such as mechanical rights and PROs for the artist.

7. What kind of music should I submit?

Short answer: We'll listen to anything, as long as it sounds good!

Long answer: Music requests vary all over the place. Initially, you should submit the type of music that you do best since the initial screening is based primarily on your sound quality and potential marketability through this catalog. Once you reach our Pre-confirmation stage and after you've submitted your W9 or W8, you will receive a copy of the submission guidelines which will include suggestions based on our most requested types of music.

8. Do you accept Sound-a-likes?

Yes and No.

We accept music that has a general feel or vibe of another artist or style of music, but we do not hold music in our catalog that sounds like another song, unless the music supervisor has specifically requested a Cover song, in which they also at that time, plan to clear the Publishing through its original owners.

We DO NOT accept 'Sound-a-likes', unless the music requester expresses interest in clearing the Publishing with its original owners. Sound-a-likes are usually created in forms of arrangements which were never cleared with the original artist/writers and therefore do not fall under our 'pre-cleared' paradigm that we offer to our clients on a regular basis.

9. Will you let me know if you get a special request to compose something new for a specific opportunity?

Once we are fully-contracted with us, we will add you to our distribution list. This list is sent to all or some of our writers, depending on the opportunity. We will eventually have a place for you to check into regularly to see what we are looking for at that particular time, too. Some of these opportunities are fast, and furious and the turnaround time is less than 24 or 48 hours, so if you are a commercial artist that needs to book musicians, studio time, etc., you may not be included on 24-hour opportunity. It all depends on the circumstances at that time, but we do try to get this list to everyone, most of the time.

10. Is it okay to include music that I have co-written with others?

Absolutely, but it depends on other variables. All new writers (for music and/or lyrics), will be required to go through the submissions/contractual process where each will also be required to agree to the terms of our agreements. You can have them submit according to our initial submission instructions herein.

11. What if I am not a member of a PRO yet?

We can help you through the registration process in becoming a member of either of the three U.S. Performing Rights Organizations (ASCAP, BMI, or SESAC) if you have encountered any difficulties with signing up on their respective websites.

12. Can you help promote or market our music?

We promote our company which holds some of your awesome music, but we are not Promoters/Marketers, Managers, or Record executives! We are simply another licensing venue for your music to get heard by other people in Creative/Licensing areas of this industry. Of course, as we say from day one, we cannot guarantee that your music will be placed through us, but as a Music Publisher, we try our best to exploit your music through our relationships and tools.