They’re scaling up for more deals: Two L.A. music licensing and publishing houses merged last month to create Riptide Music Group of Culver City.

The group is a combination of Riptide Music and Pigfactory, which have both been in business for about a decade. Riptide Music Group is now working to grow the list of up-and-coming musicians it represents in licensing deals for commercials, movie trailers and TV shows.

Keatly Haldeman, chief executive at Riptide, said the company is in the hunt for new music. The merger will allow the company of 15 to expend more resources pitching music to decision-makers.

“Scale is benefiting us all around,” he said. “Anyone who is in our catalog is getting double (the attention).”

Before merging, both companies specialized in pitching music to be used in ads, video games and movie trailers, among other venues. Recent placements have included trailers for “The Wolf of Wall Street” and “Iron Man 3.” They’re called “sync” companies because they synchronize music to video.

Pigfactory also had a specialty in collecting royalties worldwide from the radio or Internet downloads as well as mobile platforms such as Spotify.

If a firm has actively pitched the music to a production, it typically makes a commission on the licensing deal of between 25 percent and 50 percent. If the company is simply collecting a royalty for a song, it takes a commission closer to 10 percent or 15 percent of the deal.

Riptide, whose clients include Fatboy Slim, has recently worked to bolster its roster of musicians who might have just signed a record deal but are still under the commercial radar.

The company sent staff to the South by Southwest festival last week to scout new acts. Also, some of the company’s clients were playing there, such as British house trio Dirty Vegas and R&B singer Jarell Perry.

Now, the company is hoping to raise money in the next year to be used toward paying artist advances on future deals. For example, the company might pay $25,000 for the rights to exploit an artist’s album. For a royalty collection deal, the company will typically pay a multiple of what the music has generated in sales over a previous time period.

Haldeman said he thinks that with the right financing the company’s proactive approach can make it competitive with larger firms.

“If we are able to have enough financial backing, we can compete for the talent and the catalogs better than many of the publishing companies out there,” he said.

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