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You’re in the wrong (but it’s an honest mistake) - if you’re making music or a visual or copy that is intentionally a knock off of someone else’s IP, you should never put in writing what you’re trying to copy (via an email or deck or whatever). Do it on a call and then be vague in writing. If that rapper sued the brand for copying him, they could reference your email as proof.
This. Make a plist of tracks inspired by the artist but don’t include the artist if your goal is to rip off that artist.
Alternatively, if you’re looking to do a soundalike or rerecord, then include the track you want to dupe and then a plist of artists who could cover it.
Be explicit: You’re buying rights to the instrumental side and hiring an artist to cover the vocal side.
Doing a gender and genre swap is the oldest trick in the book to save costs and get around rights management.
have never heard that’s an issue
Chief
My partner and I have always done a playlist of music that fits the vibe we’re looking for regardless of whether it’s a composed piece or stock music search. For a composed track it’s trickier especially if it’s solely focused on one specific artist as reference, however most experienced composers and audio houses would expand on your reference and send you back more from multiple artists to see if it hits. But for stock this is overkill and an overstep.
It was most certainly for stock music. The company’s site even had a section to paste Spotify links. So I figured, since there’s a direct line of communication, I could just send them the links.
I had a feeling I wasn’t in the wrong but wanted to see what yall thought.
I think, if they were making a custom track, it’d be sticky. Because if anything sounded like it was ripped from their songs, there’s a paper trail of proof. But, for stock music, there are no edits to be made. Meaning, you’re just going for vibes and the existing track isn’t based off of your examples.
It’s a producer’s job to be a bit of a worry wart about these things. But, I think, you can talk to your CD or ECD—or a more senior producer—if that worrying is getting in the way of the creative output.
We always send reference tracks. I feel like the music houses use those over anything we write. Probably just pop them into whatever AI they’re using. Maybe the producer was bothered that you went around them. Usually we craft the brief with reference tracks and the producer sends.