Comments on: Transition Music

By: slideboardouts

slideboardouts — Thu, 05 Aug 2010 20:09:14 +0000

Actually, even if the works aren’t registered with your PRO, there is still a chance that you will get paid on time. I had a number of works that got used in 4Q09 and 3Q09 that did not get registered until last month, but I still got paid for them on my March and June BMI statements. When the cue sheet is filed, it will show up in your works catalog as a “Cue Sheet” that you can then click on and view what cues were used. Thats how it is with BMI anyways, not sure about ASCAP.

However, it is obvious that its better for the companies to register the works in a timely manner. Especially if the placements are going to be on a low budget show on some obscure cable network. I can definitely see that being a problem.

-Steve

By: Anonymous

Anonymous — Thu, 05 Aug 2010 17:38:15 +0000

I agree; a “song rejection” would be logical. Maybe I’ll email them with that suggestion. I did send an email awhile back asking about the status of my tracks. No reply.

I’m just getting tired of being treated with such disrespect.

By: Harry

Harry — Thu, 05 Aug 2010 17:24:20 +0000

So if you send them a track, and they don’t use it, but don’t tell you, how will you ever know if you can send that track to a different library? Shouldn’t there be some sort of “song rejection” process?

By: Anonymous

Anonymous — Thu, 05 Aug 2010 17:19:46 +0000

Exactly anonX. They may not have even sent these tracks to the client. And the composer is left hanging.

By: anonX

anonX — Thu, 05 Aug 2010 17:12:04 +0000

Hi Anonymous
I mentioned the license fee scenario to cover the general case, not necessarily this library. Many times composers first learn of placements when a PRO statement or license fee check arrives.

Yes, failing to register your work with PROs would be a big issue (of course). My understanding is they need to be registered within 6 months of broadcast because PRO surveys go back 6 months. You would think it would be in their best interest because they share in those royalties.

Our experiences vary and there certainly are a lot of libraries out there with different practices. Many contracts I’ve signed mention that any new works submitted fall under the contract.

What would make me a litte uncomfortable is this… They send out an email request for certain types of tracks. You submit in response. Since they are an exclusive library with no reversion, you don’t know if they thought the track was a match for that lead before it fell under the contract. If I was signed with them, I would at least dicuss it with them… Might not get anywhere but I’d ask about it…

Best of luck.

By: Anonymous

Anonymous — Thu, 05 Aug 2010 16:35:07 +0000

Transition seemed to be more on top of the bookwork when I first signed with them.

By: lynne

lynne — Thu, 05 Aug 2010 16:18:27 +0000

getting no lic fee at all -and just placing it where ever and assuming all new tracks automatically
and not getting the regs in to the pros–in a timely manner.

whats the advantage there.

thats so not how we do business.

By: Anonymous

Anonymous — Thu, 05 Aug 2010 16:12:05 +0000

First off; since there are no licensing fees paid to the composer, the placements won’t be discovered through that route. Second; if they’re way behind in registering your work with a PRO (or fail to register them), that route will be a dead-end as well.

And no, this isn’t the norm for my other libraries.

By: anonX

anonX — Thu, 05 Aug 2010 15:48:09 +0000

Many libraries never tell composers when or where tracks are placed. In those cases, you find out when your PRO statement comes, usually 6-9 months after airing or when a license fee check shows up.

Most of what you are describing here is not at all unique to this library.

It’s also common for library contracts to say that any additional tracks you present automatically fall under the current contract. That can be more of an issue with an exclusive contract so of course you shouldn’t send anything you aren’t prepared to give them an exclusive on right away.

I’m not saying this is good or bad or anything about this particular library…. Just that it’s very common practice.

By: Anonymous

Anonymous — Thu, 05 Aug 2010 15:34:50 +0000

I receive emails from them for jobs. When you email them a track, it is considered signed. That’s okay with me, but you never know what the placement is for or if your track was used. Also, lately they’ve been behind with sending out contracts and registering your work with your PRO.

I’ve asked about this and they said they’re keeping records of the placements, but it will be a while before they register or send out contracts.

So out of a dozen tracks I’ve emailed them in the last 8 months, I have no idea what they were used for or whether they were used at all. It makes the composer feel real important.

I won’t be emailing in anymore tracks for these jobs until I see some accountability.