In regards to streaming vs cable/network PRO royalties. I’m not sure if people know this or not (I didn’t). I was told by a very knowledgeable composer that streaming is measured differently on your royalty statement. One count for streaming means one household watched the show. One count for cable could mean 500,000 households watched the show (just an example – depends on time slot and how popular the show is). Of course for a major network show, one count is an even greater number of households compared to cable. I think he is correct. It makes sense to me, but I think BMI/ASCAP should explain this on their statements.

@ Alan: Thank you for the numbers, very informative. Could you put this into perspective compared to the potential payouts from Network or Cable airings per household view?

@Music1234 hit me up if you want, I’m a GEMA member from Germany

Yeah, streaming’s a different thing all together. Doesn’t matter how many viewers have seen it, but even the base royalty payouts are lower than terrestrial TV for sure.

I think my best strategy to to focus on “song” related tracks (as opposed to tension cues, etc…)

echoflex

I think your dead on in your thinking……..I make full songs to stream then cut them up…

you mean, cut them up as in 30’s, 60’s, etc…? That’s what I’ve been doing. I might not bother with that if I don’t see any interest in the cutdowns.

I would rethink that if I were you echoflex. Some of my biggest sellers are 30s and 60s as well as loops, stings, etc. A lot of the buyers on RF sites don’t have the skills, or time, to make their own edits.

Yes, for RF the full versions of my tracks were only 30% of my sales. Stingers and timed cuts are very important for that market.

@boinkeee2000 Good to hear you were up this quarter! I have to say that the first few years were pretty bumpy for me (and i guess most of us). I’m receiving statements for 6 years now (not a long time but you should be able to come to some conclusions after 6 years anyway) and for the past 1.5-2 years i’m seeing a somewhat steady progress (in contrast to the first 3+ years of a ‘roller coaster’ experience!).

It took me around 4-5 years to see which libraries work best for my music and which ones is a waste of time. The hardest part is to put your music in the right hands and you can’t do it without failing at first.
But even so, you always have to keep your ears open, be alerted and search for new opportunities. There are constant changes in this business and nothing is taken for granted.

Everytime that i fail i keep reminding myself i’m doing what i love the most and that’s enough to keep me going 😉

I’m down about 4% from a year ago. I’ve been getting payouts since 2013. Its been a slow climb for me. I haven’t done much with RF, just exclusives. I make money with the exclusives, but one takes some of my music and gives it to Scripps networks and I see nothing (of course they do).