A cautionary tale

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  • #32186 Reply

    Hey LAwriter,

    Thanks for your input. I am approaching 200 tracks (not including alts, stems and edits). I’ve heard the 1k goal before. Just wondering….is that 1k original tracks (not including alts, stems and edits)? Thanks…

    #32190 Reply

    Just wondering….is that 1k original tracks (not including alts, stems and edits)? Thanks…

    Hey Lincoman – no problem – you’re welcome!

    Yes, 1k actual individual songs. Not counting alts, cutdowns, stems, etc.. So it might easily be 6000-10,000 discrete pieces of music. Maybe more. (Or less)

    That comment was awhile back though. I’ve revised my number to 2k now. By the time I get closer to retiring, that might push upwards of 3k – who knows. The market is softening with streaming coming to the forefront.

    #32191 Reply

    I need to get cracking then :0) . It’s going to be a busy summer!

    #32192 Reply

    Hi Jean, I’d be careful about making sweeping statements about how certain businesses “kill” other businesses. While I agree 100% with your comment about not respecting your own self worth, in 2019 and beyond, the business is really about who has the ability to reach the most amount of customers. Certain companies have devised various tactics and strategies to reach the masses on a worldwide playing field. Others stayed focus on their niche and missed out or did not have the right marketing plan.

    I never was a fan of “royalty fee”, I absolutely despise subscription models, but at the same time the background TV cue for back end royalties business is not the greatest business model ever either. The good news is that the PRO side of the equation is never going away, ever and in fact is thriving. ASCAP just reported record revenue. The fact of the matter is that individual writers need to be engaged in both sides of the equation: direct licensing and TV background cues that do pay back end.

    They never care about you, your family and your art and never will.

    There are quite a few “NON royalty free” libraries out there who sell blanket licenses to networks who do not fund the pros. They accept the checks from these networks yet do not share any revenue with any writers who provided music to their catalog. This is overt theft. This is their way of saying “thank for your music submission, we’re going to sell it, but not share any revenue with you because that’s too complicated to figure out.”

    Bottom line – there are a lot of shysters out there on all sides of the business and some, not all, do not care about writers nor writers families.

    #32229 Reply
    Gael MacGregor

    Allan… As far as BMI statements, you need to have in your contracts that cue sheets on all projects are delivered to you within 30 days of airing/release. This way, YOU can file them with BMI. Often, production companies drop the ball on the paperwork unless they have a vested interest in the music’s backend (if they own any publishing on score music). Since many shows now simply license score-like music (scource), they’ve gotten lazy about cue sheet filing. As someone with a vested interest, it is well within your rights to DEMAND cue sheets.

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