Meet the Founders

Richard Cottrell, CEO

Richard’s career has included Executive roles in the UK and US at Coca Cola, EMI Music and Accenture Digital Media Services. He is a co-founder of Melos and experienced at bringing digital media solutions to traditional business models. Richard has completed the Presidents course at Stanford University and has an MBA from Kingston. He is a keen golfer and a qualified pilot.

Paul Sims, Chief Administration Officer

Paul Sims is Chief Administration Officer for Melos Publishing. For over 15 years he has worked with all major record labels and publishers around the world on global Sync and licensing deals. Previously CEO of DX3, the world’s first major digital Music platform. He has also worked with a number of entrepreneurial businesses in the media and publishing space to deliver licensing and revenue recoupment opportunities for their clients.

Types of Music Tracks used in Advertising

There are 3 basic types of music used in advertising campaigns and each offer different opportunities to recoup revenue in the form of royalties for Brands

Composed Music

The most common type of music used in advertising is where a track is specially commissioned for use in a commercial and used in a campaign across the world in all broadcast channels and holds the biggest revenue opportunity for Brands who own the
publishing rights.

Library Music

The second most common way for Brands to use music is to access tracks from a library of previously recorded backing tracks and this still has a revenue opportunity for Brands but is smaller.

Premium Music

Finally, there are more well-known tracks that can be used or adapted for advertising. These are the most expensive tracks to secure and have the smallest likelihood to recoup revenue in the form of royalties for Brands.

Understanding Advertising Music Rights

There are two different rights associated with using music in advertising around the world.

Synchronisation Rights

Advertisers pay for the right to use a track in their advertising (usually via their creative agency) and these are the Synchronisation Rights. The fee is paid to the publisher and the artists for using the music.

Performance Rights

Once an advertisement is broadcast in public – say on Commercial Television, Radio or Cinema – the broadcaster pays a right to play any music to the Local Collection Society in any relevant country. These are the Performance Rights. The Broadcaster will allocate media monies, paid to them by Brands, to cover these rights and the Collection Societies then pay out in turn to Rights Owners – the Songwriters and the Publishers. These Synch Rights represent the main opportunity for Brands to secure significant revenues for music they commission.