- This topic has 89 replies, 31 voices, and was last updated 10 months ago by Spiker.
- February 10, 2020 at 5:45 pm #34290echoflexParticipant
Based on this post and other posts like this on MLR, I think my best strategy to to focus on “song” related tracks (as opposed to tension cues, etc…) and then at least they might get some streams on Spotify playlists. Based on my experience with that, if I crank out 100 tracks a year I should be pulling in a solid $87 or so!! (Sigh…)February 11, 2020 at 6:14 am #34292St0rMl0rDParticipant
Huh? Am I reading this correctly that some people here have *millions* of placements and make pennies? What? I’m in Germany and terrestrial TV placements can get you several dozen € per placement.February 11, 2020 at 7:29 am #34295LAwriterParticipant
Am I reading this correctly that some people here have *millions* of placements and make pennies?
Yes. You read that correctly. Amazon VOD. Almost 20 million, around $100USD.February 11, 2020 at 9:24 am #34299Music1234Participant
I need to talk with you privately about a GEMA issue I am involved in. Art please send this gentlemen my gmail address.
We do get paid larger royalties for CBS, ABC, NBC, FOX St0rMl0rD, probably similar to German terrestrial TV.
We are all complaining and protesting the streaming royalty rates and even lack of payment for some cable TV networks that millions of people watch every day: ESPN, SCRIPPS Networks, Big Ten Network, etc.
I need to speak to a German writer who is a member of GEMA. Will you be willing to communicate privately with me?February 11, 2020 at 9:30 am #34300Art MunsonKeymaster
I need to speak to a German writer who is a member of GEMA. Will you be willing to communicate privately with me?
You can always PM each other. https://musiclibraryreport.com/personal-messaging/February 11, 2020 at 6:02 pm #34302SpikerGuest
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.February 11, 2020 at 6:58 pm #34303AlanParticipant
A bit off topic, but here are some factual streaming numbers from my January 2020 ASCAP statement to ponder
The Marvelous Mrs. Maisel (winner of multiple Golden Globe and Emmy awards)
11 second placement with 5,551,334 plays = $24.87404
22 second placement with 7,734,494 plays = $73.87124
Note, I received a $500 sync fee for each placement
I my view, these are premium placements with HORRIBLE back end. The future of PRO income looks pretty dismal to me.February 11, 2020 at 8:02 pm #34304ro5erParticipant
@ 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 GermanyFebruary 11, 2020 at 8:30 pm #34305AlanParticipant
Could you put this into perspective compared to the potential payouts from Network or Cable airings per household view?
ASCAP doesn’t viewership info. I can tell you one 16 second prime time airing on The Voice (NBC) paid about $60. I looked up their viewership and got 8 million, so maybe Mrs. Maisel was in line with the Networks. It just feels pretty low for such a successful show. I once got over $300 for 10 seconds on an NFL playoff game and the track had a co-writer. That’s the kind of back end I expected for Maisel.February 12, 2020 at 12:22 am #34308St0rMl0rDParticipant
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.