ASCAP and their inadequate survey system

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  • #29492 Reply

    Just a quick bit on SESAC

    I opted for monthly payments..

    As well, I can reach “My Rep anytime” and can retrieve any data/sheets/information I need..

    As well, Universal/UPPM, Olé Music, and several others are now using SESAC as their primary PRO..

    Not making a pitch for them. Just stating facts..

    #29493 Reply

    I like them all. Just keep sending that green money to my bank account and I’m happy.
    SESAC is “FOR PROFIT” and that is a good thing. I do not want to email my rep to ask for cue sheets. Just up-date that buggy SESAC site and show the darn cue sheets (as ASCAP does).

    Beatslinger, tell your “rep (here to make you smile) at any time” guy/ gal to display all cue sheets for every writer and publisher at all times.

    Why do we have to send an e-mail asking “Hey baby cakes, can you hook me up wityh some data, like cue sheets?’ That is ridiculously annoying. Just Big Data them out so we can all see what is happening with our music!

    #29494 Reply
    Art Munson

    With BMI I now get this garbage when I click on “works catalog”.

    “This catalog is too large to display. Please enter your search criteria.”

    Yeah, a pain. That’s been happening to me for a few years now. You would think in this day and age they would have it more together.

    #29498 Reply

    With BMI I now get this garbage when I click on “works catalog”.

    “This catalog is too large to display. Please enter your search criteria.”

    Oddly enough, you can still see your entire catalog without logging in to your account by using the “search BMI repertoire” function and entering your name as songwriter/composer.

    #29510 Reply

    ^^^^ Yes, this is how I do it. No problem in seeing 30,000+ titles, although the scrolling through to find something is beyond tedious. BMI is a decade behind normal computer science and coding. I think they LIKE it that way though. Less accountability. Still, a major pain.

    #29613 Reply
    Michael Nickolas

    Has anyone ever been paid royalties by ASCAP for “NBA Gametime” placements? Or does the NBA TV network fall through the cracks of their survey?

    #29617 Reply

    this ASCAP survey method has me really worrried now. i’ll find out if i’m a victim to it when the next quarter is paid out in April.

    #29618 Reply

    @ Michael…From Today’s BMI Statement:

    NBA TV

    NBA GAME TIME JUNE 27 2017

    19 “Track Title Here” BI 00:32 20172 100.00% $54.07 $0.00 $54.07

    NBA TV Total $54.07

    #29620 Reply
    Michael Nickolas

    Well that’s promising thanks. Hope ASCAP will also payout as I have something like 35 cue sheets for that show. Statement is in April.

    #29621 Reply

    I see this thread is still alive and kicking, which is good because I think it’s a subject which needs to be addressed. I just wanted to revisit it and make a few further points.

    1. This is a problem that has only really come to light with the introduction of tracking services like tunesat. For people writing for the big 5 networks, MTV, films, commercials and even TV writers with significant volume on the more popular cable stations it is unlikely to be that much of a problem.

    2. For my personal situation I’ve heard through back channels that ASCAP are aware of the problem and are taking steps to deal with it. This is due to questions on my behalf from my publishers and fellow ASCAP writers, and I’d encourage everyone to raise these issues with ASCAP through those channels.

    3. Due to the time consuming nature of leafing through a quadrillion cue sheets, I imagine that will take some time to correct the problem. I’ve seen some good royalties for a theme used on a History Channel show that appear to have been paid belatedly, perhaps this is part of them addressing the problem. I’m actually with PRS and there’s insufficient data on my statement to be sure, but I’m hopeful that is what’s happening and that there will be more in the future. I’ll update this thread if I spot anything else that comes through.

    4. ASCAP have doubtlessly done things to help writers in the past and will continue to do so in the future. It’s a very frustrating problem to be unpaid for uses that we know about, but a “problem” is what it is and not something done in malice. As I see it, ASCAP is receiving and distributing the total licence fee from all of these channels, it’s just that their method of distribution is inadequate. I wouldn’t insinuate that ASCAP have “kept” the money, just that they have not accurately distributed it.

    We can do any amount of PRO bashing but nothing will really change unless the tone is something more positive. ASCAP will know about this problem and that it’s becoming more visible, it’s encouraging them to do something about it that will help, not labelling them as the bad guy. We must trust that they want to help writers and let them know that by changing their survey system, they’ll be helping us.

    I’ll receive another PRS statement in mid-April, and I hope I can come back and say there were some backdated royalties paid out by ASCAP. If that is the case, I would suggest that people go through the ASCAP channels, through your publisher etc and see if you can get them to have a look at your unpaid uses. If enough cases are raised, they may well see it’s more efficient to overhaul their system.

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