{"id":148443,"date":"2010-07-12T14:58:29","date_gmt":"2010-07-12T14:58:29","guid":{"rendered":"https:\/\/socancom100stg.wpenginepowered.com\/third-side-music-provides-a-fresh-approach-to-publishing\/"},"modified":"2010-07-12T14:58:29","modified_gmt":"2010-07-12T14:58:29","slug":"third-side-music-provides-a-fresh-approach-to-publishing","status":"publish","type":"post","link":"https:\/\/uat.socan.com\/fr\/third-side-music-provides-a-fresh-approach-to-publishing\/","title":{"rendered":"Third Side Music provides a fresh approach to publishing"},"content":{"rendered":"<p><strong>Les traductions pour les articles avant l\u2019automne 2013 ne sont pas disponibles pour le moment.<\/strong><\/p>\n<p>Music publishing can be a little like real estate, in the sense that one of the best ways to add value is through sweat equity. Montreal-based <strong>Third Side Music<\/strong> is a prime example of the formula. Founded in 2005 by a talented team with a modest start-up fund of just $100,000, the young company has grown by leaps and bounds, thanks to hard work and a careful focus on synch licensing and client service.<\/p>\n<p>&nbsp;<\/p>\n<p>\u201cWe essentially worked for free in the beginning,\u201d says co-founding partner Patrick Curley, an entertainment lawyer who handles the business affairs side of the Third Side equation. \u201cThe team is definitely the key asset we have to offer.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>Fresh out of law school, one of Curley\u2019s first clients was Ninja Tune, the U.K.-based music label that was doing an increasing amount of business on this side of the Atlantic. After a few years of working with Ninja\u2019s North American point man, Jeff Waye, the two men joined forces with Julie Blake (administration) and Mary Catherine Harris (operations) to form Third Side.<\/p>\n<p>&nbsp;<\/p>\n<p>\u201cWe started with next to nothing but our collective experience, our passion and our drive,\u201d says Blake. \u201cAnd we\u2019ve gotten to the point where we\u2019re now a legitimate and, more importantly, profitable company. Our goal has always been to provide an alternative to the big publishers.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>\u201cAlternative\u201d certainly describes Third Side\u2019s roster, which is one of the edgiest anywhere, featuring a highly eclectic mix of artists including <strong>Owen Pallett<\/strong>, <strong>Tanya Tagaq<\/strong>, Thunderheist, Champion, The Besnard Lakes, Malajube, <strong>Darren Fung<\/strong> and Handsome Furs, among many others.<\/p>\n<p>&nbsp;<\/p>\n<p>Because so many of Third Side\u2019s artists are independent, the publisher is able to represent both the master right (acting in an agent capacity) and the copyright in most synch negotiations. \u201cBeing able to represent both rights facilitates easy clearance of titles,\u201d says Curley. \u201cOther people are doing the same thing \u2014 we\u2019re not claiming to be reinventing the wheel here \u2014 but we\u2019ve been pretty effective. We were in it early and we started with a very good contact base, so we\u2019ve been able to land some really top TV shows like <em>CSI<\/em>,<em> Entourage<\/em>,<em> Grey\u2019s Anatomy<\/em>,<em> Californication<\/em>, tons of video games, even video-game apps. We secured a great licence for an artist called Mr. Scruff for an iPhone app called Rolando \u2014 the game was a huge success, selling hundreds of thousands of units.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p>Mary Catherine Harris notes that \u201cby the time we formed our company, traditional music sales were already tanking, so we knew we\u2019d have to get creative. I don\u2019t think we\u2019re hampered by the old model. We\u2019re ready to look at every possible way to help our writers. We see people who have a pretty dismal view of the industry, but music is going to survive. And there\u2019s a lot of exciting technology out there that we\u2019re trying to harness and incorporate into our company\u2019s operations.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Dedication and Drive<\/p>\n","protected":false},"author":0,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[97],"tags":[],"class_list":["post-148443","post","type-post","status-publish","format-standard","has-post-thumbnail","category-non-categorise"],"acf":[],"_links":{"self":[{"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/posts\/148443","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/comments?post=148443"}],"version-history":[{"count":0,"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/posts\/148443\/revisions"}],"wp:attachment":[{"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/media?parent=148443"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/categories?post=148443"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/uat.socan.com\/fr\/wp-json\/wp\/v2\/tags?post=148443"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}