May 12, 2018 at 8:37 am #30079ChuckMottParticipant
Thank you, larger then usual which was a nice surprise. I always thought it was the 6th though, just like domestic. Mine was deposited either today, or yesterday…May 12, 2018 at 9:18 am #30080AdviceGuest
If you have direct deposit, the money may already be in your bank account. Check on-line. Mine is in there.
Good luck!May 12, 2018 at 10:19 am #30082Music1234Participant
I have never done any admin work as discussed above other than registering my songs with BMI. To be honest, I wouldn’t know where to start. Most of the libraries I work for do this for me. It’s their money too….
If I am watching TV and hear my music on a TV spot I will certainly reach out to the publisher / library to make sure they are aware that the spot is running and ask/confirm if they placed it. At this point in my career, almost all of my music is NE or E deals have expired allowing me to try other markets for my music. I would never sit back and hope the library is taking care of the administrative portion of the project. In fact, I have learned that it is in my very best interests to file ad and promo claims myself even if the publisher did so too. I want the PRO to know for sure that I am the writer of the music.
Last thought – we do live in a world where commercials are made with stock music from the cheaper sites. Someone just licensed one of mine on the cheap to make a car commercial. It’s 100% on me to file the claim to collect back end performance royalties. I will also e-mail a link to the spot and provide competitrack ad codes data. Sometimes a cheap $75 to $500 license can yield an extra $1000 or so if you do your admin work right.May 12, 2018 at 3:00 pm #30083LAwriterParticipant
If I am watching TV and hear my music on a TV spot I will certainly reach out to the publisher / library to make sure they are aware that the spot is running and ask/confirm if they placed it. At this point in my career, almost all of my music is NE or E deals have expired allowing me to try other markets for my music.
My exclusive deals are all with big PMA libraries, and they are (in my experience) ON IT in terms of filing cue sheets, etc.. The one big private NE library that is the majority of my BMI statement is on it as well. It’s how they make their money and they have a couple of people that are full time on that aspect alone….
I honestly don’t expect much back end from the typical NE / RF libraries.May 12, 2018 at 3:02 pm #30084LAwriterParticipant
Here’s something that I have been looking into. These may help with some aspects of the complexity of royalties. https://www.songtrust.com/
Thanks for this Art – I will investigate further….. Do you have any experience with these types of services or others of the same ilk? Seems like they are more focused towards traditional artist / publishers…..May 12, 2018 at 3:19 pm #30085Art MunsonKeymaster
Thanks for this Art – I will investigate further….. Do you have any experience with these types of services or others of the same ilk?
No but I have found out more about SongTrust here http://passivepromotion.com/what-artists-should-know-about-songtrust.
This guy’s site has explored all the different aspects from a songwriter/artist point of view point of view and has spent his own money checking them out. Worth a look http://passivepromotion.com.May 12, 2018 at 3:20 pm #30086Art MunsonKeymaster
I may move this reply to the Spotify thread.October 22, 2018 at 8:59 am #31098AlanParticipant
Here is an update from my NBA Channel question:
– Tunesat has detected 81 individual placements on the NBA channel for a total of 346 airings. Earliest was April 2017, most recent was last week. Many are 1-2 minutes long.
– About 50 of those placements have cue sheets filed with ASCAP
– I have received ZERO royalties from ASCAP
I spoke with an ASCAP representative over the summer who said I should see some payments on October 2018…..nope.
I called ASCAP today. The representative politely told me he hears this a lot. The NBA channel (and most sports channels) pay very little and are ranked very low on the priority for the ASCAP survey. I “whined” a bit more and he gave me the NBA channel survey list for 2017. Here it is:
1/25/2017 6am – noon
4/11/2017 6am to noon (Tunesat picked up 19 airings on 4/12/2017, ouch!)
5/22/2017 6pm to 11:59:59 pm
8/13/2017 6pm to 11:59:59 pm
That’s it for the year. Tunesat picked up 226 airings in 2017 and it misses about 10%-20% in my experience.
Side note, I also have 20-30 placements on Golf, Fox Sports1 and BTN with the same issue.
I asked him to mark my call as a formal complaint, though I’m not sure if they have that system in place.
How hard would it be to move my catalog to BMI? My 300-ish tracks have over 3000 Title registrations, nearly 1000 cue sheets, plus many publishers and sub-publishers. It seems like an impossible undertaking. Thoughts?October 22, 2018 at 9:49 am #31099Michael NickolasParticipant
If it makes you feel any better, I have 90 cue sheets for these types of placements. I sent ASCAP a document listing the Series Title, Series Code, Date, and Program Code from each cue sheet and got the same nonsense from them as you did.
“Research is ongoing for the additional spreadsheet you sent us and we will notify you of our findings asap”
“Our further research indicates your performances were not found in the Sample/Survey conducted.”
As for moving your catalog, I’m not sure you should based it on this situation only. I mean if they did pay me it would have probably been $100-$200. It’s not fair missing out on that but is it enough money to go through the trouble? And I’m sure BMI has unfair issues of its own.October 22, 2018 at 8:55 pm #31101pgbankerParticipant
How hard would it be to move my catalog to BMI? My 300-ish tracks have over 3000 Title registrations, nearly 1000 cue sheets, plus many publishers and sub-publishers. It seems like an impossible undertaking. Thoughts?
It sounds like you might have a lot of retitling going on in which case it could prove to be difficult but then again I could be wrong. I’m actually going through the process right now. As it turns out you can’t actually just move the entire catalog on your own. When you resign from ASCAP as a writer, they give you an option to keep your catalog with ASCAP or remove it. I chose to remove my catalog. But what they don’t tell you is that your publisher(s) also has to resign the works from ASCAP after you make the switch to BMI. And the publisher has a 3 month window during the year to submit for resignation… just like you have a 3 month window as an ASCAP writer… so the publisher has to wait for that window to open. AND even after ALL of that waiting, to start getting paid by BMI on those works that you and your publisher move, you have to wait for the licenses that ASCAP has in place with the networks which your music is airing on to expire. I have been told by ASCAP it could be up to 5 years before those licenses end. Or 1 year or 2 years. I’m still trying to weed through the process. So at the end of the day, there is no telling how long it will take. However, if you are in it for the long haul and your tracks are going to continue to be used on those networks then it makes sense in my opinion to do it. Or at least do it with the works that you have placing on those networks where ASCAP is not paying you. I have one work which is in 155 cue sheets. My BMI co-writer on that particular work has made over 5K in backend royalties over the last 2 years. I have been paid 125 bucks by ASCAP. I have several works that are performing similarly. So in my opinion, it makes sense to move them over to BMI. I know ASCAP won’t pay on them, so it’s nuts to leave them there in my opinion. But they certainly make the process long and difficult. I haven’t come out the other side yet on the moving of the catalog, still in the muck of it all, probably will be for years to come. So yeah, to answer the question “how hard would it be?”… I think it just depends on how much patience you have 😉
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