Rights clearance checklist for sampling Mitski, BTS and indie tracks in your videos

Hook: Stop guessing — a practical rights checklist for sampling Mitski, BTS and indie tracks

Creators tell us the same thing: "I want to repurpose a cool hook from Mitski or a BTS beat, but I’m confused about licences, formats and who to contact — and I don’t want a takedown or a bill." If you make video content in the UK and you sample, cover or sync a commercially released track, this guide gives a step-by-step checklist, a decision flowchart and real-world contact templates so you can clear rights properly in 2026.

The 2026 context — what’s changed and why it matters

Recent trends affecting rights clearance:

• Publisher consolidation and global admin: Companies like Kobalt continue expanding publishing reach and administration networks (see Kobalt–Madverse partner news, Jan 2026). That means more catalogue administration is centralised — easier to find a publisher, sometimes faster payments, but more rigid approval processes. For verification of admin partners and contacts, see our Edge-First Verification Playbook.
• Faster commercialisation of short-form video: Platforms continue to prioritise short-form clips. Platforms’ blanket deals (with PRS/PPL in some cases) do not replace the need for synchronisation or sample clearance for developer-published or downloadable videos.
• AI and sampling scrutiny: As AI-assisted editing and sample-stretching become common, rightsholders are more protective. By 2026, many publishers explicitly require notification and extended licensing for AI usage.
• More micro-licensing services — and more caveats: New micro-license products promise easy clearance for small creators. They can be helpful, but they rarely cover prominent samples from major catalogues like BTS or recent Mitski singles.

Core legal principles UK creators must keep front-and-centre

• Sync licence (synchronisation) — required whenever you pair a musical composition with visual media (video, film, ads). This licence comes from the publisher/composition rightsholder.
• Master use licence — required when you use a specific sound recording (the master). This licence comes from the record label or the owner of the recording.
• Mechanical rights — in the UK, mechanical reproduction of a composition (e.g., copying a cover, embedding an audio track in a downloadable video file that reproduces the composition) needs clearance; PRS/MCPS administer many mechanicals but direct negotiation may still be needed for samples.
• Two clear rights for samples — sampling a recording normally requires both the master use licence and publisher clearance (composition) — there’s no “legal safe” short clip rule in UK law.
• Performance vs reproduction — public performance royalties (PRS) and playback on a platform are separate from sync/master licences. Clearing sync doesn’t remove the duty to report and pay performing rights if needed.

Quick rule of thumb

Any recognisable portion of a recording or melody you didn’t create needs clearance — composition and master. Assume permission is required.

Checklist: Before you sample or sync Mitski, BTS or any indie track

1. Identify exactly what you’re using
   • Is it the original recorded audio? (master)
   • Are you re-performing the melody? (cover — composition/mecahnical rights)
   • Is it a short sample looped or chopped? (sample = master + composition)
2. Identify rights holders
   • Use PRS for Music repertoire search (UK) for composition/publisher info.
   • Search PPL for performer/master owner info, or use Discogs/MusicBrainz/AllMusic for label credits and ISRC codes.
   • If you’re working with a major K-pop or international act (e.g., BTS), check the label/publisher — in 2026, many K-pop rights are administered centrally through groups like HYBE/BigHit; for Mitski check label credits (Dead Oceans for the 2026 album release) and cross-check publisher via PRS/ASCAP/SESAC.
3. Decide the licences you need
   • Using the original recording in a video: Sync licence + Master use licence.
   • Re-recording/cover and distributing audio: Mechanical licence + Sync licence (for the video portion).
   • Sampling a track: Master use + Publisher clearance (both required).
4. Prepare clearance packet — include the following to speed replies:
   • Project name, producer, company (if any).
   • Exact use (duration of the clip, timecode or bars used), format (YouTube short, Instagram Reel, downloadable course video), and whether audio will be altered (looped, pitched, chopped, used by AI).
   • Territory (UK, EU, worldwide), distribution (ad-supported, subscription, free), and commercial intent (monetised, branded partnership, non-profit).
   • Start date, release date, deadline for clearance and budget range (if you have one).
5. Contact rightsholders — who to email and what to say
   • Publisher (for sync/composition) — send a short email with the clearance packet and ask for the sync licence and mechanical (if needed).
   • Label/master owner — ask for the master use licence and state intended alterations/playback platform.
   • Collective organisations — notify PRS/PPL for reporting if necessary; they don’t grant sync licences, but they administer performance and mechanical collections and can confirm who administers rights. If you have trouble finding a publisher’s contact, escalate using verification playbooks like Edge-First Verification.
6. Get agreements in writing and save metadata
   • Do not rely on verbal permission. Get a signed licence with defined scope, fees, term, and credit requirements.
   • Keep ISRC, ISWC, and UPC details; keep proof of payment and cue sheets for PRS reporting. Use modern file workflows and archival playbooks such as collaborative file tagging and edge indexing to store emails and licence PDFs.
7. Clear samples or covers for additional territories — rights can be territory-specific. If you plan global publishing, negotiate global clearance up front to avoid later takedowns.
8. Budget for rights — high-profile catalogues (recent BTS singles or hot Mitski singles) usually command higher sync fees. Be realistic about negotiations and timelines.
9. When in doubt, consult a music clearance pro — especially for commercial campaigns or when AI-generated derivative work is involved. If your project also touches on AI training or complex admin chains, consider technical and security reviews such as red-teaming supervised pipelines for larger campaigns.

Decision flowchart (textual) — when do you need a sync, mechanical or master licence?

  START
    |
    +-- Do you use a pre-existing recording (original audio)?
         |-- YES --> Do you pair it with visuals (video)?
                     |-- YES --> NEED SYNC LICENCE (publisher) + MASTER USE LICENCE (label)
                     |
                     |-- NO  --> Using audio-only reproduction: NEED MECHANICAL LICENCE (publisher) + MASTER licence if using original recording
         |
         |-- NO  --> Are you re-performing the composition?
                     |-- YES --> If you distribute the audio or pair with video: NEED MECHANICAL LICENCE (publisher) (+ SYNC if video)
                     |
                     |-- NO  --> Is the audio a new composition inspired by the track?
                                 |-- YES --> If recognisable or derivative, get publisher clearance; consider co-writing credit or licence
                                 |
                                 |-- NO  --> Original work: no clearance required
  
  SPECIAL CASE: SAMPLING (any recognisable snippet)
    --> Always clear MASTER + COMPOSITION. No de minimis in the UK.
  

Examples: Applying the checklist to Mitski and BTS 2026 releases

Example A — Mitski: "Where's My Phone?" (single from Nothing’s About to Happen to Me, Feb 2026)

Scenario: You want to use a 10‑second vocal phrase from Mitski’s new single inside a promotional short that you will upload to YouTube and also include in a purchasable download on your course site.

• Step 1 — Identify: Original master audio + composition (recognisable vocal).
• Step 2 — Rights needed: Sync licence (publisher) + Master use licence (record label, likely Dead Oceans or the label credited on the release). Because you will make the video downloadable (reproducing the composition), mechanical rights or mechanical reporting may be required as well.
• Step 3 — Where to find rightsholders: Use PRS for Music search to identify the publisher and songwriter credits. Check the single’s release metadata on Discogs/MusicBrainz for label credits (Dead Oceans is the label for Mitski’s 2026 release).
• Step 4 — Contact: Send clearance packet to the publisher and label. Be explicit about the downloadable product and commercial intent; expect negotiation and fees. If the publisher is administered by a larger admin (e.g., Kobalt or similar), they may route you to their sync team — use verification and admin contact playbooks like collaborative file tagging guides to keep your trail organised.

Example B — BTS: a 4-bar loop from a 2026 track (Arirang album)

Scenario: You sample a 4-bar instrumental from a recently released BTS track and plan to release a remix video on YouTube with distribution to other platforms and possible monetisation.

• Step 1 — Identify: Original master + composition (K-pop groups almost always require both clearances).
• Step 2 — Rights needed: Master use licence + publisher clearance (sync + mechanical depending on distribution). K-pop rights are often managed centrally by the entertainment group (HYBE/BigHit) and associated publishers, and they may have strict approval processes for remixes and uses.
• Step 3 — Where to find rightsholders: Check credits on the release metadata, Hybe/BigHit press releases and PRS/ASCAP repertoire listings. For global works, confirm if Kobalt or other administrators handle publishing in some territories (2026 expansion deals mean rights may be administered by partners regionally).
• Step 4 — Contact: Expect higher fees and a slower response window. Provide a detailed clearance packet and be prepared to demonstrate production quality to negotiate terms. If denied, consider re-recording an original interpolation (still requires publisher permission) or commissioning a custom composition.

How to contact publishers and labels — email templates and do’s & don’ts

Publisher contact template (short)

Subject: Sync request — [Song Title] — [Your Project Name] — UK/Worldwide

Body (include):

• Who you are and your company/production credits.
• Exact use: duration of excerpt (timecode), how it’s used in the video, whether audio will be altered.
• Distribution: platforms (YouTube, Instagram, website), territories, and commercial intent.
• Release date and clearance deadline.
• Budget range (optional but speeds negotiation).
• Contact details and preferred payment terms.

Label/master owner template (short)

Subject: Master licence request — [Song Title] — [Your Project Name]

• Same clearance packet as above but emphasise any alterations to the recording (stems, re-editing, pitch-shift) and intended audience size.
• Ask if the label requires a sample fee, exclusivity, or share of revenue.

Do’s & Don’ts

• Do include exact timecodes and file examples (low-res stems if requested) to speed evaluation.
• Do be explicit about AI processing if you plan to use AI tools — many publishers now require disclosure in 2026; see guidance on desktop AI use and disclosure from projects like autonomous desktop AIs.
• Don’t assume platform blanket deals cover your use. Sync licences are negotiated separately.
• Don’t say you’ll rely on “fair dealing” to justify sampling; UK fair dealing is narrow and rarely applies to commercial sampling.

Pricing and timing expectations

There are no fixed UK rates for sync: fees depend on track profile, duration used, territory, audience and exclusivity. For well-known catalogues (BTS, hot Mitski singles), expect higher baseline fees and longer negotiation windows. Typical timelines:

• Small indie tracks: 1–3 weeks (if publisher responsive).
• High-profile / K-pop / major-label tracks: 4–12+ weeks and possibly escalations to legal teams.
• Emergency clearances: possible but expensive; factor in rush fees.

Administrative follow-up — metadata, cue sheets and royalty reporting

• Once cleared, include required credits exactly as specified (writer/publisher/label) in your video description and metadata.
• Prepare and submit cue sheets for broadcast or PRS reporting where required.
• Keep copies of all licences, invoices and signed agreements for at least the licence term plus statutory limitation periods — store them with searchable metadata using tools covered in collaborative file tagging playbooks.

Troubleshooting common clearance problems

• No reply from publisher — escalate to PRS for Music for publisher contact, check alternate admin like Kobalt in 2026 (many publishers use admin partners). If outreach stalls, use admin verification methods from the Edge-First Verification Playbook.
• Publisher says no — consider an interpolation (re-record) and negotiate mechanical-only clearance; still may need publisher approval.
• Label wants exclusivity or high fee — propose limited territory, non-exclusive, reduced term or revenue share.
• Rights split across territories — clarify administration per territory and secure written confirmation of coverage to avoid takedowns.

Advanced strategies and future-proofing for 2026+

• Negotiate data and AI clauses — explicitly limit whether rights allow training of AI on the recording or composition. If your campaign involves complex AI flows, consult technical reviewers and pipeline security case studies like red-team supervised pipelines.
• Request administration contacts — in 2026, publishers often contract third-party administrators; ask for the admin contact to speed payment tracking.
• Consider micro-licensing only for background/stock usage — for prominent samples from big acts, micro-licenses usually won’t apply.
• Keep an audit trail — store emails, licence PDFs and metadata in your project folder; platforms and advertisers increasingly require proof of clearance. File-management guidance is available in collaborative tagging playbooks.

Final checklist you can use now

• Step A: Identify recording vs composition.
• Step B: Search PRS / PPL / Discogs / MusicBrainz for rightsholders.
• Step C: Build clearance packet (project summary, timecode, territory, commercial intent, budget, deadlines).
• Step D: Email publisher and label with templates; ask for terms in writing.
• Step E: Negotiate scope, get signed licence, pay fees and secure metadata/cue sheet requirements.
• Step F: Upload content with credit and maintain records for royalty reporting.

Takeaways — actionable next steps

• If you’re sampling Mitski’s Feb 2026 single or a 2026 BTS track, plan for both composition and master clearance, allow 4–12 weeks and budget accordingly.
• Use PRS and PPL as starting points to locate publishers and labels; in 2026 many publishers are administered by global partners (Kobalt-style networks) — check for admin contacts.
• Be transparent about AI use; most publishers require explicit permission for AI training or transformation. For guidance on AI tooling and disclosure, review materials such as autonomous desktop AI summaries.

Closing — be fast, be thorough, protect your project

Clearing music rights can feel slow and technical, but following a standardised checklist and using the templates above makes it predictable. In 2026 the industry offers more admin tools and global publisher partnerships — they make discovery easier but approvals remain contractual. When you’re ready to sample a Mitski hook or a BTS loop, start with precise identification, then pursue both sync and master clearances. That way you keep your content live, monetised and legal across the UK and beyond.

Call to action

Download our printable UK rights clearance checklist and editable publisher/label email templates or book a 15‑minute review with a clearance specialist to walk your project through the flowchart — get the assurance your release needs. (Visit downloadvideo.uk/rights-help)

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