Who said Friday the 13th was unlucky! BMI royalties out today and had a decent payout. Still not a living wage but better than last quarter. Jingle Punks still rockin’ with some good major network placements as well as Scorekeepers. Also picked up a few Kardahsian placements from one of my other deals.
How about you? Here’s hoping for some fat payouts for all!
Hey Art, how did your BMI statement reconcile with your tunesat account?
Hi Blind, haven’t gotten around to that yet. Hope to in the near future.
Someone knows what is the “NATIONAL CABLE TV ASSOCIATION” on the statement?
It’s a once a year payment by BMI of money collected from the NCTVA. Consider it a bonus.
However…. BMI is changing the way it handles cable distribution in the Summer of 2012.
Whether that will affect the annual NCTVA payment, I don’t know.
Cheers,
Michael
Both BMI and Ascap pay this distribution.
I’ve seen as much as 50 grand paid out that way
years back.
It has to do with cable tv licensing and stems from the explosive growth
of the cable networks.Somehow a deal was struck with the PRO”S
and cable and the result is once a year payout for writers.
Thanks guys!
Sounds like a cool bonus.
Something very strange happened to me this statement.
I received an international royalty from one country for something that was broadcast two month ago, even faster then the domestic payment.
maybe start a website like this one Art.
For all the production companies
I think the problem would be that those production companies would get slammed with phone calls and refuse to take any composer’s calls.
Art…I’m glad that you said that first.
oh well..
Yeah, the PRO’s don’t pay much for background music. That’s why you should always get a percentage of the licensing.
I got my PRO payout for this quarter and I was not impressed. I got some placements but the payout was pathetic. I definitely need to work with production companies. Music libraries are not treating me right. Thankfully I have two production companies that gave me the green light to submit some material. I just need to step up to the plate and create better material.
@synth sorry that you aren’t happy with your PRO statement.
I work directly with two production companies, creating their library.
You do know that the backend payout is the same regardless of whether the music came from a library or directly from you? The PROS pay based upon where, when and how the music is used, not where it came from.
I wish you all the best working directly with productions companies. Be aware that the production companies may want part, or all, of your publishing, and/or maybe some of your writer’s share too. And… they aren’t likely to pay you a sync fee upfront. Go in with eyes open, but go for it! Have any deal checked with an attorney, if you can afford it (or look for volunteer lawyers for the arts where you live).
Cheers,
Michael
I am not too worried about it. I actually think my problem comes from two things: making too many songs and working with bad libraries. No big deal as I just pulled music from some libraries and royalty-free sites. I guess I should have seen that these companies were not suited to benefit me.
The reason I want to work with production companies is because they are the end user. They are more likely to use my songs and more likely to repeatedly use my songs. I know that my backend would increase by having the same songs used in multiple episodes of a show.
One company I contacted actually does a work-for-hire deal. They pay an upfront fee and retain ownership and publishing rights. I would keep the writer’s share.
I am not worried about signing deals. I have read or signed over 30 contracts. I am familiar with the legal aspects of deals amd ask questions when I do not understand. Many composers get scared and confused from a lack of experience. But it is not necessary to be scared when you study andgain experience.
Anyone knows if there is a directory that deals specifically with production companies like these, or a list of those open to solicitation? I’d be interested on focusing more on a “work for hire” for a while too.
There is a list with all of the information. I have extensively used it to examine, compare, and contact many different music libraries, music publishers, post-production companies, etc. Here is a link: http://www.kftv.com/section/Post-Production-Sound-Multimedia
Good news! I just interacted with a production company and plan on signing some new music. They get placements on network TV shows, so the royalty payments should be higher than for cable placements. Deal is non-exclusive too!