Licensing Terms

This page outlines the legal framework, usage rights, restrictions, and pricing for licensing music from Young Coconut Music.

Looking for a quick overview? See our Services page for a simple explanation of master licensing vs. publishing licensing.

What’s below: Detailed terms for production companies, music supervisors, and legal departments—territory, duration, exclusivity, modifications, credit requirements, pricing, breach protocols, and everything else you need to know before we finalize an agreement.

I own 100% of my masters and publishing. No sample clearance issues, no hidden rights problems, no third-party approvals needed. You’re dealing directly with the person who created the music.

Usage Rights & Restrictions

All licenses specify the following terms. These are negotiable on a per-project basis, but must be clearly defined in writing before use.

Media / Placement

Where can the licensed track be used?

Common options:

• Theatrical: Film festival screenings, theatrical release, independent cinema
• Broadcast TV: Network television, cable, PBS, syndication
• Streaming / VOD: Netflix, Amazon Prime, Hulu, Disney+, Apple TV+, YouTube Premium, etc.
• Digital / Social Media: YouTube (ad-supported or organic), Instagram, TikTok, Facebook, podcasts
• Advertising: TV commercials, radio spots, online ads, in-store promotions
• Corporate / Industrial: Training videos, internal presentations, trade shows, promotional materials
• Video Games: In-game music, trailers, cut scenes, menu screens
• Educational / Non-Profit: Documentaries, PSAs, educational programming

Important: If you want to use the track across multiple media formats (e.g., theatrical + streaming + social media), that needs to be specified upfront in the license. Using the track in media not covered by the agreement constitutes breach of contract and may result in immediate termination of the license, statutory damages, and legal action.

Examples of breach:

• You license for “festival screenings only” but then distribute on Netflix → Breach
• You license for “one YouTube video” but use it in five → Breach
• You license for “broadcast TV” but also run it as a paid Facebook ad → Breach

Contact me before expanding usage. Renegotiating is easier than litigating.

Territory

Where geographically can the licensed track be distributed?

Common options:

• Worldwide: No geographic restrictions
• North America: USA, Canada, Mexico
• United States Only
• Canada Only
• Festival Rights Only: Limited to film festival circuit (specific festivals can be listed)
• Specific Regions: EU, UK, LATAM, Asia-Pacific, etc.

Important: Territory restrictions are legally binding. If your project gets picked up for wider distribution (e.g., you license for “festival rights only” but then get a Netflix worldwide deal), you must contact me for an expanded license before distribution begins.

Distributing outside the agreed territory without renegotiation is breach of contract and subjects you to statutory damages for copyright infringement.

Term / Duration

How long can you use the licensed track?

Common options:

• Perpetual / In Perpetuity: Forever (most common for film/TV)
• Limited Term: 1 year, 3 years, 5 years, 10 years (common for advertising campaigns)
• Festival Term: Limited to festival circuit run, with option to renegotiate for theatrical or streaming release
• Promotional Use Only: Limited to trailers, teasers, or behind-the-scenes content (not the final release)

Important: If the term expires and you continue using the track (e.g., your 2-year ad campaign license ends but the commercial is still running), you must renew the license before the expiration date.

Continued use after term expiration constitutes breach of contract. I’m not going to hunt you down over an honest mistake, but if you’re knowingly continuing to use the track without renewal, expect a cease-and-desist letter followed by legal action if ignored.

Exclusivity

Can I license the same song to other projects?

Standard: All licenses are non-exclusive unless otherwise negotiated.

This means:

• I can license the same song to multiple projects simultaneously
• You do not have exclusive rights to the composition or recording
• Other filmmakers, advertisers, or content creators may also license the track

Exclusive licenses available for significantly higher fees. If you need exclusive rights (meaning no one else can use this song for the duration of your license), let’s discuss budget and scope.

Exclusive licenses typically require:

• Higher upfront licensing fee (5x–10x standard rate)
• Clearly defined exclusivity parameters (exclusive within your media category, exclusive worldwide, exclusive for competing brands, etc.)
• Written agreement specifying the exclusivity term and scope

Modifications & Derivative Works

What’s Allowed (Master License):

If you’re licensing my existing master recording, you may:

✅ Edit for time: Trim the track to fit your edit (use 30 seconds, 90 seconds, the full track, whatever works)
✅ Adjust levels: Change volume, fade in/out, EQ adjustments for mix purposes
✅ Loop sections: Repeat a section for pacing or timing (e.g., loop the chorus under a montage)
✅ Tempo/pitch adjustments: Speed up or slow down within reason (no more than 10-15% without written approval)
✅ Stem isolation: Use isolated stems if provided (e.g., vocals-only, instrumental-only)

What’s NOT Allowed (Master License) Without Written Approval:

❌ Lyric changes: Adding, removing, or altering lyrics
❌ Melodic changes: Changing the melody or vocal performance
❌ Re-recording: Recording your own version and claiming it’s my master
❌ Adding new elements: Layering new vocals, instruments, or beats that fundamentally alter the composition
❌ Mashups/sampling: Combining my track with another artist’s work without clearing rights with both parties
❌ Destructive edits: Manipulating the track in a way that misrepresents the original work or damages its artistic integrity

If you want to make changes beyond basic editing, contact me. I’m usually flexible, but I need to know what you’re planning.

What’s Allowed (Publishing License):

If you’re licensing the composition only and creating your own recording, you have significantly more creative freedom:

✅ Re-record in any style: Orchestral, acoustic, electronic, jazz, whatever fits your vision
✅ Change instrumentation: Piano ballad, full symphony, solo guitar, trap beat—go wild
✅ Rearrange structure: Intro, verse, chorus, bridge—rearrange sections as needed for your edit
✅ Change tempo and key: Speed it up, slow it down, transpose to a different key
✅ Extend or shorten: Add instrumental interludes, cut verses, loop sections
✅ Retitle for on-screen use: Call it “Love Theme,” “Main Title,” “End Credits Song,” etc.

What’s NOT Allowed (Publishing License) Without Written Approval:

❌ Rewrite the melody: The core melodic structure must remain recognizable
❌ Rewrite the lyrics: You can omit lyrics (make it instrumental), but you cannot change or add new lyrics without approval
❌ Change the harmonic foundation: The chord progression and harmonic identity should remain intact (minor variations in voicings are fine, but don’t turn a minor-key ballad into a major-key dance track)
❌ Claim co-writing credit: Your arranger/producer gets arrangement credit, not songwriting or publishing credit (unless we negotiate a co-writing agreement in advance)

If your arrangement changes the song so dramatically that it’s unrecognizable, we need to have a conversation. At that point, you might be creating a new composition, not arranging mine.

Title & Credit for Derivative Works

If you license the composition and create a new arrangement, you may retitle the work for on-screen use (e.g., “Love Theme,” “Opening Theme,” “Elegy for Sarah”).

However, you must:

Credit the original composition and songwriter in end credits:

Option A (Standard):
“[New Title]” – Music by Dave Fox

Option B (With Attribution):
“[New Title]” (based on “[Original Title]” by Dave Fox)

Option C (With Arrangement Credit):
“[New Title]” – Music by Dave Fox, Arrangement by [Your Arranger]

Register the work correctly with Performing Rights Organizations (PROs):

• Composition Title: [Original Title] (e.g., “Bogman”)
• Writer/Composer: Dave Fox (100% songwriting share)
• Publisher: Young Coconut Music (100% publishing share)
• Derivative Work / Performance Title: [New Title] (e.g., “Love Theme from The Notebook 2”)
• Performed By: [Orchestra/Artist/Band]
• Arrangement By: [Your Arranger] (arrangement credit only—no songwriting or publishing split)

Ensure all publishing royalties flow to Young Coconut Music:

Your arranger/producer may receive performance royalties (if they performed or conducted the recording), but they do not receive songwriting or publishing royalties unless we negotiate a co-writing agreement in writing.

What you may NOT do:

❌ Claim songwriting credit for the underlying composition
❌ Register the work as an original composition without crediting Dave Fox as the writer
❌ Retitle or re-register the work in a way that obscures or misrepresents the original authorship
❌ Allow your arranger/producer to claim publishing or songwriting shares without my written consent

Example of Correct Registration:

On-Screen Credit (Film End Credits):

“Love Theme”
Music by Dave Fox
Orchestration by Jane Smith

PRO Cue Sheet (SOCAN, BMI, ASCAP, etc.):

Composition: “Bogman”
Writer: Dave Fox (100%)
Publisher: Young Coconut Music (100%)
Performance: “Love Theme” performed by The London Symphony Orchestra
Arrangement: Jane Smith (arrangement credit, no publishing split)

Why this matters:

• Ensures I receive proper songwriting and publishing royalties
• Protects the integrity and authorship of the original work
• Gives your arranger/producer proper credit for their contribution without diluting my rights

If you’re unsure how to register a derivative work, contact me and I’ll walk you through it or provide the necessary metadata.

Co-Writers & Clearance

Some tracks in the Young Coconut Music catalog were co-written with collaborators during earlier stages of development—often years before the songs were substantially rewritten, re-recorded, and released in their current form.

Here’s how I handle this:

• I am your sole point of contact for all licensing negotiations. You deal with me, not anyone else.
• I handle all co-writer clearances and payments on the backend. If a song has co-writers, I’ll disclose this during the licensing process and manage all necessary approvals before finalizing the agreement.
• I assume full responsibility for any co-writer issues. If someone pops up claiming ownership after a deal is done, that’s my problem to solve—not yours.
• I indemnify you against third-party claims related to co-authorship. Your licensing agreement is with Young Coconut Music / Dave Fox, and I protect you from any disputes.

Translation: You get clean, simple licensing without having to track down multiple people or navigate messy clearances. I do the work so you don’t have to.

Credit Requirements

Minimum Credit (All Licenses):

You must provide clear, legible credit in the end credits of your project:

Standard credit:

Music by Dave Fox

or

“[Song Title]” by Dave Fox / Young Coconut Music

If using a derivative arrangement:

Music by Dave Fox
Arrangement by [Arranger Name]

Metadata Credit (Streaming, Digital, Broadcast):

All digital platforms (YouTube, Spotify, Apple Music, Netflix, etc.) must include proper metadata attribution:

• Songwriter/Composer: Dave Fox
• Publisher: Young Coconut Music
• ISRC / ISWC codes: (Provided upon licensing)

Optional Upgrades (Negotiable for Higher Fees):

• Opening credits: “Music by Dave Fox” appears in opening sequence (higher fee)
• Prominent placement: Larger font size, separate card, etc. (negotiable)
• No credit (buyout): You pay a significantly higher fee to omit my name (rare, case-by-case basis)

Important: Failure to provide agreed-upon credit constitutes breach of contract and may result in additional fees, legal action, or requirement to re-edit and re-release with proper credit.

I’m not precious about font size or placement (unless we specifically negotiate that), but the credit must be clear, legible, and present.

Re-Licensing & Sub-Licensing

You may NOT sub-license, resell, or transfer the licensed rights to a third party without my written consent.

What this means:

❌ NOT ALLOWED:

• You license my track for your indie film
• A music supervisor for a TV show sees your film and wants the same track
• You give them the track or grant them usage without contacting me first → This is breach of contract

✅ CORRECT PROCESS:

• Music supervisor contacts me directly
• I negotiate a separate license with them
• Both projects use the track under their own independent licenses
• Everyone’s happy, everyone’s legal

Exception: If you are a music supervisor, production company, or agency acting on behalf of a client, you must disclose this upfront and ensure the license specifies the end client’s name and usage terms.

Promotional & Ancillary Use

Promotional use of the licensed track (trailers, teasers, behind-the-scenes content, social media clips) is typically included in the license at no additional cost, provided:

• The promotional content is directly related to the licensed project
• The promotional content does not outlive the term of the license (e.g., if your license is for 2 years, your trailer can’t continue running ads for 5 years)
• The promotional use does not expand beyond the agreed media or territory

Separate licensing required for:

• Standalone music videos featuring the track
• Use in a different project’s promotional materials (e.g., you can’t use the track from Film A to promote Film B)
• Commercial advertising that is not directly promoting the licensed project

Pricing

Licensing fees depend on:

• Usage: Opening credits, background scene, trailer, montage, full episode/film use
• Media: Theatrical, broadcast TV, streaming, digital, social media, advertising, corporate
• Budget: Micro-budget indie vs. major studio production
• Territory: Regional, national, worldwide
• Term: Limited (1-5 years) vs. perpetual
• Exclusivity: Non-exclusive vs. exclusive

Typical Fee Ranges:

These are guidelines, not fixed prices. Every project is different. Micro-budget passion projects get different rates than Fortune 500 ad campaigns.

Get a quote: Email media@youngcoconutmusic.com with:

• Project description (film title, ad campaign, YouTube series, etc.)
• Usage (opening credits, background, trailer, etc.)
• Media (theatrical, streaming, social, broadcast, etc.)
• Territory (worldwide, USA only, Canada, etc.)
• Term (perpetual, 2 years, 5 years, etc.)
• Budget (ballpark is fine—I’m not going to gouge an indie filmmaker, but I’m also not licensing to Coca-Cola for $500)

What Happens If You Breach the Agreement?

Let’s be clear: I’m not looking to be litigious, but I do know my rights and I will protect my work.

If you use my music outside the agreed terms—wrong media, wrong territory, expired term, no credit, unauthorized modifications, sub-licensing without permission—here’s the process:

Step 1: Friendly Reminder (Benefit of the Doubt)

I’ll reach out and assume it’s an honest mistake. Most violations are misunderstandings or oversights, not malicious acts. We’ll talk it through like adults.

Example:

Your license was for “festival screenings” but I see it’s now on Amazon Prime → I’ll email and say “Hey, looks like the film got distribution—congrats! Let’s update the license to cover streaming.”

Step 2: Formal Notice (Things Are Getting Serious)

If the issue continues, or if it’s clear you’re knowingly violating the agreement, I’ll send a formal written notice:

• Documenting the breach
• Requesting immediate cease of unauthorized use OR renegotiation of terms
• Setting a deadline (typically 10-14 days) to resolve

Step 3: Legal Action (You Had Your Chance)

If you ignore the formal notice or refuse to negotiate in good faith, I will involve legal counsel.

Breach of copyright and contract can result in:

• Immediate termination of license (you must stop using the track and remove it from all distribution channels)
• Statutory damages (up to $150,000 per work under U.S. copyright law; similar provisions under Canadian copyright law)
• Actual damages (lost licensing fees, lost opportunities, reputational harm)
• Injunctive relief (court order forcing you to cease distribution, remove content, and destroy infringing copies)
• Legal fees and court costs (you pay mine if you lose)
• Public record of infringement (yes, this can affect your ability to secure future licenses and insurance)

I’d much rather have a conversation than a lawsuit. But if you decide to steamroll me and treat licensing like a polite suggestion rather than a legal agreement, I will absolutely take action to protect my work.

Don’t be that person. Just email me. We’ll figure it out.

How Licensing Works (Step-by-Step)

1. Browse the catalog (Spotify | Website Music Page)
2. Get in touch (media@youngcoconutmusic.com or call/text (519) 208-8680)
3. Tell me about your project:
   • What’s the project? (film, ad, YouTube series, etc.)
   • How do you want to use the track? (opening credits, background scene, trailer, etc.)
   • What’s the media? (theatrical, streaming, broadcast, digital, etc.)
   • What’s the territory and term?
   • What’s the budget?
4. I’ll send you a quote (typically within 24-48 hours)
5. We finalize terms (I’ll draft a simple 1-2 page licensing agreement, or we can use your production company’s template if you prefer)
6. You sign, I countersign, you pay (payment methods: e-transfer, PayPal, wire transfer, check)
7. I deliver the files (WAV, MP3, stems if needed, plus metadata and cue sheet info)
8. You create, I get credited, everyone wins

Questions?

Email: media@youngcoconutmusic.com
Phone/Text: (519) 208-8680
Website: youngcoconutmusic.com

I’m here to collaborate and make licensing as straightforward as possible. If you have questions about usage, pricing, or how any of this works, just ask.

Let’s make something great together.

Done. This version:

• Removes the redundant licensing options explanation (that’s on your homepage now)
• Keeps all the detailed legal framework
• Maintains professional tone
• Provides comprehensive reference for production companies/legal departments
• Still feels like you (not overly corporate)