Positive Spin Partners

Thank you for your interest in Positive Spin Pro Partners & Investors!

My name is Eric Copeland, and I have been a professional music composer, arranger, and producer since 1990.

If you are even seeing this page, we have either talked or you have initial interest in being a serious partner with Positive Spin Songs, a sync licensing focused music composition, arrangement, and production company based in Clermont, FL.

Being a partner or investor means we are working together towards developing music for the focused reason of licensing music. Being a PRO partner or investor means you are looking at a more serious investment, and more quality product than most potential partners that may be artists or co-writers.

Our goals will be getting music into television shows and movies, film projects, the lucrative world of advertising, and also video games and other media.

There are several ways to do this including pitching music to exclusive sync libraries, pitching directly to sync agents, and also pitching directly to music supervisors and other music buyers. (See the Investor Media Kit for Different Ways to Sync.)

If you are interested in learning more about sync licensing, I suggest you look at all the videos in the Investor Media Kit as well as watch the playlist of videos on sync licensing here: https://youtube.com/playlist?list=PLhhyJp8xL87OM4H4FLCCPrMMWLPiv6r-G&si=ARsIka-OSWPU3apU

(Note: Watch the video below for Eric’s description of this page if you’d rather not read.)

How This Works

Costs and Royalty Splits

Throughout my career as a producer, especially once I moved my music production business to Nashville in 2005, the hallmark of my sound has been quality.

I believe that this has also contributed to my success as I pivoted in 2016 towards music licensing.

If you haven’t listened yet, you can go to the home page at https://positivespinsongs.com/ and take a long listen through my playlists. You’ll hear the quality I produce and why I’ve had success getting many of these songs into licensing, but this does not always come cheaply.

My goal with investors and partners is to work together towards many more quality albums like this. Each partner should be prepared to commit to working on at least one album at a time with me. Perhaps moving as quickly as producing an album per month.

I know that sounds like a lot, but to get to a place where you earn the fastest in sync, we need quality and quantity.

Song investment can cost anywhere from $750-1500 per song depending on the songs needs. I will be the executive composer and producer working with you towards music we decide and agree to create and pitch.

You’ll need to be prepared to work with Positive Spin for a minimum of 6-12 months in order to get at least 3-6 albums done and pitching. Many clients I work with end up working with me for years, and even decades. (Because it’s fun!)

Other Possible Costs

Songs may also require players that fall out of each of our talents (ie. real drums, bass, guitars, keyboards, vocals, and in some cases mixing and mastering.) More on all that later, but partners will be required to pay for these as part of your ownership in the songs. We also have the option to bring some players in as partners in royalties if we’d rather not pay them, but that would bring down our royaltiy percentages too.

Royalty Splits and Return on Investment

Our royalty splits are usually 50/50. I would recommend you have a writer’s account and publishing account with BMI if you don’t have one. This will allow you to have 50% publishing for non-exclusive licenses we may get.

We’ll sign some publishing deals, especially if we sign with libraries. They will get the publishing, and we will split the writer’s side. We will also split the upfront sync royalties 50/50 that we get from any deal as well. There also will be contracts we co-sign with libraries.

If we don’t sign the songs to libraries, but keep them non-exclusive and pitch them, we can register them with our PROs and that will make sure we both get paid any royalties owed.

There isn’t much need for us to sign a bunch of contracts together, if things are spelled out in our PRO catalog registrations or signed officially into contracts with libraries. I may come up with a contract for 50/50 song ownership just so it’s spelled out.

Note: See the Investors Media Kit for videos explaining royalties and the different kinds of deals.

Making Music Income with Sync Licensing

It is important for you to know like any investing, music licensing can be a very long road. We need to produce a lot of music and get it where it can get used, and then be patient for a long back end. Songs can take years to be found and used, and the key is quality AND quantity (and patience as well 😉

There are and can be payments in the short term especially with advertising, but upfronts can be anything. but “upfront”.

In the meantime, there are ways we can monetize and market music including for your artist brand, music streaming, sheet music in some cases, YouTube Content ID. And there are also situations where songs could get used immediately by advertising with large paydays upfront, or briefs we fulfill that pay sooner.

But you need to be prepared for this to be a long term focus and investment to pay off for years to come. Pretty much like regular investing.

I have found that more is more, and the more songs that are out there, and the more we work opportunities with quality productions, the quicker we will see income.

Song Production

Our first goals will be to determine what kind of album or project we are working on, and then work weekly towards it. If you have worked in music before, you likely have not worked with someone like me.

After 30 years producing music, you’ll find my thinking a bit bigger than you are used to. I dream really big. But they aren’t dreams like “maybe we’ll get lucky.” They are dreams like, who are the right musicians and voices and engineers to use for these songs we are working on.

Also, this isn’t about “stardom” or “artists”, it’s about investing in songs. It’s about creating very high quality recordings that beat out home studio “beatmakers” and home enthusiasts.

Each week starts with my now infamous Weekly Update that arrives in your email box every Monday morning at 8am. It will talk about where we stand with the songs or albums we have in development, what I will be doing towards them that week, and what I will need from you as well.

We’ll likely meet once per week in person, by phone, Zoom, or through many emails that week to keep you updated.

Music production needs to be a creative flow and there is no “speed”, but know that I do want to move things along every week. The faster we get songs to the finish line, the sooner we can pitch them to libraries, briefs, and other opportunities.

Every weekday, the ideas, demos, tracking, vocals, and mixes will be flowing. There will always be things to listen to, approvals to move songs on to the next point, and things to finalize.

Pitching and Catching

Of course once we finish a set of songs we will be pitching them to libraries, sync agents, and other music buyers. You’ll find a deeper explanation on who these people are in the Investors Media Kit.

Catching means we are getting briefs, or requests to develop certain songs in certain genres or for specific projects, and I will be coming to you with these if I think we are the right team for it.

Promoting our songs will be a focused effort where first we send them to a list of growing resources, including library owners, sync agents, music supervisors, marketing companies, and other music buyers. We will meet people like this at sync and other events, and/or people that I already have a growing email list of.

Second, we pitch directly and individually to sync agents, music supervisors, and music buyers that I think may be right for a song or album of songs.

But third and most likely, we will also be feeding albums to exclusive libraries that are popular with music supervisors who search for songs for the shows they are working for, and then place that music in TV and other opportunities.

The first two ways will let us keep not only our writer’s PRO royalties but also our publishing side. Libraries can be also exclusive and take the music publishing side, but they also provide more opportunity for the songs to be found and used.

That’s a lot…

So that’s a lot of the how and how much, and little of the who.

I’m sure you have many questions and would love to talk to you about this in a meeting soon.

If you are interested, let’s set something up to answer questions and/or see when we can get started working together.

Thanks again for considering being an investor and partner with me. It’s an honor to have you even think about this, and I look forward to producing great music with you that will be part of our income streams for the rest of our lives.

Again I have included a lot of information from a course I teach on Sync Licensing in the Investor Media Kit and recommend you look through that before we talk just to get a good grasp of the industry, at least how I see it.

Contact me at PositiveSpinSongs@gmail.com for next steps or call me anytime at 615-400-3910.