Music Guide Music HisTORY There was a time when “elevator music” was all you heard in a store, hotel, or other business. Yawn. 1 1971: a group of music fanatics based out of seattle - known as Aei Music - pioneered the use of music in its original form, and from the original artists, inside of businesses. A new era was born where people could enjoy hearing the artists and songs they know and love in the places they shopped, ate, stayed, played, and worked. 1 1985: DMX Music began designing digital music channels to fit any music lover’s mood and delivered this via satellite to businesses and through cable TV systems. 1 2001: Aei and DMX Music merge to form what becomes DMX, inc. This new company is unrivaled in its music knowledge and design, licensing abilities, and service and delivery capability. 1 2005: DMX moves its home to Austin, TX, the “Live Music capital of the World.” 1 Today, our u.s. and international services reach over 100,000 businesses, 23 million+ residences, and over 200 million people every day. 1 DMX strives to inspire, motivate, intrigue, entertain and create an unforgettable experience for every person that interacts with you. Our mission is to provide you with Music rockstar service that leaves you 100% ecstatic. Music Design & Strategy To get the music right, DMX takes into account many variables including customer demographics, their general likes and dislikes, your business values, current pop culture and media trends, your overall décor and design, and more. Our Music Designers review hundreds of new releases every day to continue honing the right music experience for our clients. Tempos, textures, styles, lyrics, and attitude are all essential considerations. Then we put it all together. While some music providers simply pull a random mix of songs and hit a shuffle button, DMX designs programs to play in a unique, but deliberate way that maximizes a sense of variety and flow while minimizing repetition. It’s art + science and our Music Designers are expert at it. DMX can deliver a fully integrated music strategy that’s right for your business and unforgettable for your customers. DMX Music Gui D e 1 Copyright & Licensing We’ve Got You covered. Keeping up with complex music compilation cDs, Pre-Loaded Portable Media and Music licensing requirements is nearly impossible for today’s busi- Downloads – In order to produce a compilation CD, produce nesses. But, noncompliance means risk of legal action in federal pre-loaded portable media or provide music downloads, a court and potentially costly penalties. At DMX, we not only business or individual requires a license for each song from the design and deliver powerful music and music video solutions, record label and/or artist (owners of the Master rights) and from we take care of the licensing so you can focus on running your the author, composer and publisher (owners of the Mechanical business.1 Here is a quick primer to help you understand the im- rights). portance of licensing and the value of having DMX on your side. dmx LicensinG LicensinG 101 DMX understands the intricacies of music licensing. We have The purpose of the United States Copyright Law is to protect negotiated agreements with music publishers and record labels the rights of artists, authors, composers and publishers to their around the world: work. When anyone plays or performs music in public, or distrib- utes music in any form, they must have the rights to that music. Master Rights – DMX has direct licenses with all the major If not, U.S. federal copyright laws call for severe legal and finan- record labels – Sony Music entertainment, Universal Music, eMI cial penalties. So, prior to using music or video in a commercial and Warner Music – and with over 2,500 independent record setting, a business must secure several rights: labels. Master Rights – The right of the actual sound recording, owned Mechanical Rights – DMX has direct licenses for the mechanical by the record label and/or artist. To make a copy of the sound rights with over 5,000 catalogs throughout the world as well as recording, an individual or a business requires a license from the with The Harry Fox Agency. owners. Performance Rights – DMX holds direct licenses with ASCAP, Mechanical Rights – The right of the author, composer and BMI, Soundexchange, SeSAC as well as other performance rights publisher of the musical composition, the song’s music and organizations. lyrics, referred to legally as the “underlying sound recording.” To So, when you go with DMX you get peace of mind knowing make a copy of the song, a business needs to secure the me- you’re legally covered. We shoulder the licensing obligations so chanical rights from the publisher directly or through The Harry you can focus on what you do best. Fox Agency who may be the publisher’s administrator. You also get the satisfaction of knowing that the artists, who Performance Rights – The right to publicly perform a musical continue providing the music that is such an important part of composition within a business. A performance includes the use our lives, are being properly compensated for their work and of any form of music player, including but not limited to, an mp3 talent. or CD player or any form of broadcast, such as AM/FM or satellite radio. These rights are either administered directly from the 1 Licensing fees paid by DMX may be subject to other restrictions imposed under publisher or through performing rights organizations such as license agreements applicable to the use of the service. ASCAP (American Society of Composers, Authors and Publish- ers), BMI (Broadcast Music, Inc) or SeSAC. synchronization Rights – The right granted by the owner of the Master rights (the record label and/or artist) and Mechanical rights (composer, author and publisher) to authorize the record- r ing of a musical work onto the soundtrack of an audio/visual Platform KEY work, allowing the song to be synchronized with images. S = DBS Satellite i = ProFusion Icon X = ProFusion XS D = ProFusion DS 2 wi n T e r 2 0 1 1 e D I T I O n .classical Mezzanine i X enjoyable, familiar favorites from the Baroque, Classical, Ro- Upscale, sophisticated and elegant. These richly- mantic and Impressionist eras. Considered easy-listening for layered selections feature relaxing, romantic classical audiences, the compositions vary from solo piano to instrumentals, intimate ensembles, leading concertos and large orchestral works. Sample ARTIStS: Arthur Rubinstein, Emanuel Ax, Isaac Stern, Leonard Bernstein/New vocal stars and the dynamic force of the finest York Philharmonic, Daniel Barenboim, Cleveland Quartet, Alfred Brendel, London symphonic works. Philharmonic, Eugene Ormandy/Philadelphia Orchestra, Emerson String Quartet S i X COMPATIble proGramS: Chamber Music, Intimate Chamber, Light Classical Arias & Overtures i X The greatest highlights from Opera are showcased in this sunday Pops melodic style that adds a refined, Euro-sophistication to any A stylish and sophisticated blend of light Classical, soundtracks elegant setting. Arias, duets, trios and quartets have been and the best of Broadway. While energy is on the contempla- selected from operas in the Italian, German, French and Russian tive side, there are enough upbeat gems to keep from getting languages and are combined with instrumental works, over- too sleepy. This style is the perfect accompaniment in settings tures, ballets and intermezzi. used for welcoming or entertaining. Sample ConduCtorS & enSembleS: Beecham/Orchestre National de La Radiodiffusion Française Sample ARTIStS: London Symphony Orchestra, Bath Festival Orchestra, John Williams, Dutoit/ Giulini/Royal, Britten/English Opera Group Orchestra, Gergiev/Kirov Opera & Orchestra, Orchestre Symphonique De Montreal, Daniel Barenboim, Jerry Goldsmith, Barbara Cook, Muti/Teatro Alla Scala Vocalists: Carlo Bergonzi, Monserrat Caballé, Joseph Calleja, Birmingham Symphony Orchestra, James Newton Howard, Alicia De Larrocha José Cura, Werner Gura, Vesselina Kasarova, Sherrill Milnes, Andrea Rost, Beverly Sills COMPATIble proGramS: Light Classical, Silver Screen, Showtunes Selections from: Bizet: Carmen, Donizetti: Lucia di Lammermoor, Giordano: Andrea S Chenier, Mozart: Die Zauberflöte, Puccini: La Bohème, Verdi: Aïda symphonic COMPATIble proGramS: Chamber Music, Light Classical A diverse library of orchestral works from the Baroque, Classical i X and Romantic periods, plus accessible 21st-century composi- chamber Music tions. This all-instrumental program spans two centuries and An intimate, purely instrumental program with drawing room highlights musical forms such as concerti grossi, concertos, grace. Virtuoso small ensembles and solo works provide a dis- overtures, serenades, symphonies and tone poems. tinguished musical tour of the past two centuries. Sample ConduCtorS & enSembleS: Alsop/Royal Scottish National Orchestra, Barbirolli/Hallé Sample performerS: Academy of Ancient Music, Alban Berg Quartett, Daniel Barenboim, Orchestra, Bernstein/New York Philharmonic, Janigro/Symphony of Radio Zagreb, Beaux Arts Trio, Joshua Bell, Boston Chamber Music Society, Julian Bream, Budapest String Manze/The English Concert, Marriner/Academy of St. Martin-In-The-Fields, Mazur/ Quartet, Chicago Pro Musica, Cleveland String Quartet, Glenn Gould, Hagen Quartett, Yo- Gewandhausorchester, Munch/Boston Symphony Orchestra, Previn/Royal Philharmonic Yo Ma, Arthur Rubinstein, Isaac Stern, Tákacs String Quartet, Mitsuko Uchida Orchestra, Reiner/Chicago Symphony Orchestra COMPATIble proGramS: