Rules for remixes
A remix is creative work with someone else's material – and that comes with obligations.
Before you release a remix, you must have consent and the right licence. Without them, it will not go through.
What a remix actually is
A remix is a new version of an existing recording created by editing or reworking the original material – typically by adding new elements or changing the tempo, rhythm, arrangement or overall sound. The remixer works with the original sound recording (stems, vocals, loops) and turns it into a work created by creatively adapting another work within the meaning of Section 2(4) of the Copyright Act (Act No. 121/2000 Coll.).
The difference from a cover: With a cover, you record your own interpretation of an existing song. With a remix, you work directly with the original recording – and that fundamentally changes the scope of the rights you need.
Remix vs. cover vs. interpolation
Remix = working with the original sound recording.
Cover = your own new interpretation of an existing musical work.
Interpolation = reworking a melody or lyrics into your own recording, without using the original sound recording.
Each of these formats requires a different type of rights. For a remix, it is the most complex.
Two layers of rights – and you need both
Every music recording carries two independent layers of rights. A remix touches both – and you need consent and a licence for both.
Rights to the musical work
The copyright of the composer and lyricist in the musical work itself. A remix is an adaptation of the work – for that you need the consent of the author or whoever manages their rights – e.g. the publisher or the relevant collecting society (e.g. OSA). Without this permission, the remix is by law an infringement of copyright.
Rights to the sound recording
The rights of the producer of the sound recording (phonogram producer) – typically the record company or label that financed and owns the recording. These rights are independent of copyright and protect the specific recording – the one you work with when remixing.
Rights to the work alone are not enough
A common misconception: “I have a licence for the song, so I can release the remix.” That is not enough. If you work with the sound recording of the original track (vocals, stems, loops), you also need the consent of the producer of the sound recording. The two layers of rights are independent – a licence for one does not replace the other. You can find out more about how rights work in the article Licences and licence agreements.
Consent of the original artist and the rights holders
A remix cannot be released without the explicit consent of the rights holders. It is not enough to buy the recording on iTunes, have it on Spotify or be a fan of the artist. You need demonstrable consent – ideally a written licence agreement that clearly defines:
- the scope of the licence (streaming only? physical formats too? only certain platforms?),
- the territory (the whole world, or only specific countries?),
- the time limit (for how long?),
- the revenue-sharing terms (will the original artist or label receive a share of the income?),
- whether it is an exclusive or non-exclusive licence.
What must a licence agreement contain?
We cover this in detail in the article What a proper licence agreement must include. As a general rule: The more precisely the licence is described, the better. An email from the artist saying “yeah, sure” may not be legally sufficient – especially if the remix is going to be distributed commercially. How to prove a licence in the event of a dispute or complaint is described in the article How to provide proof of a licence.
With major artists and labels, remix licensing goes through the record company's legal department. With independent artists, it is simpler – a direct agreement is enough. In every case, however, both the performer and the owner of the recording must demonstrably agree to the release of the remix.
How to write a remix title correctly
The title of a remix must clearly communicate that it is a remix – and sometimes also who made it. Platforms such as Spotify have established standard formats for this, shared across the whole music industry. Stick to them – otherwise the recording may be rejected or incorrectly placed in the catalogue.
| Format | Example | Verdict |
|---|---|---|
| Title (Name Remix) | Blinding Lights (Chromatics Remix) |
Preferred |
| Title (Name Remix) + guest in the featuring artist field | Levitating (Joel Corry Remix) |
Correct – the platform adds “feat.” itself |
| Title - Name Remix | One More Time - Daft Punk Remix |
Acceptable |
| Title (Remix) | Flowers (Remix) |
Only if the specific remixer is not known |
| Remix Title | Remix: Blinding Lights |
Wrong – do not use |
| Title [Remixed by Name] | Flowers [Remixed by Jan Novák] |
Non-standard – avoid |
The golden rule for naming structure
The original song title + the remixer's name and the word “Remix” in brackets – this is the format used by major artists on Spotify and elsewhere, and the platforms accept it without any problems. Example: Song Title (Jan Novák Remix). The name in brackets can be a pseudonym – just as with the producer, registration with a collecting society is not required.
Watch out for typos and letter case
This is the Song Name field. This title will be displayed on all platforms – the platforms do not correct it. Check the diacritics, spaces and brackets before sending the release to distribution.
The Remixer field – mandatory and easy to fill in
Every remix must have the remixer listed in its metadata. In the recording section, you will find the REMIX block – just tick “Track is a Remix”, fill in the remixer's Remixer Artist Name field and tick the confirmation of all rights to the remix.
The remixer is always a third party who remixed your recording – not you yourself. As the primary artist of your account, you cannot enter yourself in the Remixer field.
You can only release a remix of someone else's recording with a written licence from the holders of the rights to both the original recording and the work (record company, authors, publisher). In practice, an independent artist obtains such a licence only in exceptional cases – without it, a remix of someone else's recording cannot be released. If you really do have one, write to us before you fill in the release.
Without a remixer, the remix will not go through
A recording marked as a remix in its title will not reach the platforms without the Remixer field filled in – distribution will reject it. So do not forget to fill in the REMIX section and also confirm that you hold all the necessary rights and licences.
How to list the remixer – the same rules as for the producer
The remixer's name follows the same rules as the Producer field. Specifically: It can be a pseudonym – and unlike the Author field, it does not have to be officially registered with OSA or any other collecting society. Any artist name the remixer performs under will do. Separate multiple remixers with a comma and a space. However, the remixer must not also be the primary or featured artist on the same recording – see A remixer is neither a primary nor a featured artist.
Checklist before releasing a remix
Before you send a remix to distribution, go through this list:
- Do you have the written consent of the author (composer, lyricist) to release the adapted work?
- Do you have a licence from the producer of the sound recording (the label, record company or the artist themselves) to use the original recording?
- Is the track title in the format Song Title (Name Remix)?
- In the REMIX section, have you ticked “Track is a Remix”, filled in the remixer's name and confirmed your authorisation to distribute?
- Are you able to prove the licence if anyone asks for it – see How to provide proof of a licence?