ASCAP to SESAC

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This topic contains 29 replies, has 7 voices, and was last updated by  MM1 2 months, 2 weeks ago.

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  • #15774 Reply

    bradymusico
    Participant

    Hi All –

    I know several composers that have made the switch from ASCAP to BMI but I’m wondering if anyone here has made the switch from ASCAP to SESAC and, if you have, how was the transition? I’d also be interested in knowing how many SESAC affiliated composers are lurking around MLR and, in general, what your experience has been…?

    Thanks! – B

    #15777 Reply

    Art Munson
    Keymaster

    I know of one very successful composer (with a very large catalog) who made the switch from ASCAP to SESAC. He’s very happy and his wallet is fatter because of it.

    #15778 Reply

    Advice
    Participant

    Question on that, Art… My understanding is that US publishers (e.g. libraries taking publisher’s share) need to have publishing companies set up for the PRO’s their writers are affiliated with, usually ASCAP or BMI. I know most publishers have both an ASCAP and BMI publishing entity. But do most also have one for SESAC? And if not, can they work with SESAC writers? Has anyone encountered a problem because of this?

    Thanks ๐Ÿ™‚

    #15788 Reply

    bradymusico
    Participant

    I know of one very successful composer (with a very large catalog) who made the switch from ASCAP to SESAC. He’s very happy and his wallet is fatter because of it.

    Well, that’s good news. Thanks Art!

    #15789 Reply

    MichaelL
    Participant

    1) @bradymusico…have you checked whether or not you can get into SESAC?

    It used to be a fairly exclusive club, for writers with large or high value catalogs.

    2) Make sure you know your ASCAP affiliation date. It controls when you can leave ASCAP.

    3) Generally works that have another ASCAP member in interest stay with ASCAP, unless that interested party agrees to move your works to the other PRO. Moving their interest is also controlled by the date of their affiliation with ASCAP. It can be complex and time consuming.

    I moved from ASCAP to BMI. I only moved works for which I am also the publisher. A friend recently moved from ASCAP to BMI. Most of his works that have other publishers, or co-writers affiliated with ASCAP are staying there. Some of his cues were published by my ASCAP company and I was able to move those to one of my new BMI companies. Other that that, he’s informed all of his other libraries that he’s now a BMI member, and is starting fresh going forward.

    We both continue to get paid by ASCAP for the works that remain its catalog.

    #15796 Reply

    Art Munson
    Keymaster

    And if not, can they work with SESAC writers? Has anyone encountered a problem because of this?

    Not that I know of but I have a writer, I occasionally work with, in SESCA and I don’t think it’s an issue. I’m not the last word on the subject though.

    #15799 Reply

    MichaelL
    Participant

    Not that I know of but I have a writer, I occasionally work with, in SESCA and I don’t think it’s an issue. I’m not the last word on the subject though.

    Who is the publisher for the other writer?

    #15800 Reply

    Art Munson
    Keymaster

    Who is the publisher for the other writer?

    He has his own SESAC publishing company.

    #15820 Reply

    bradymusico
    Participant

    Thanks for the info MichaelL and Art!

    @michaell – I am going through the interview process right now, so have not been offered affiliation yet… My termination date with ASCAP is not until April of next year and I would need to put in my notice in October. So if I am not going to SESAC I will be going to BMI and doing similar to what you have done Michael.

    One question… So with library tracks that you are not the publisher, for example, ASCAP still pays you for the writer’s share because you have left those with them due to the interested parties? Did you contact any libraries to have certain tracks moved over to BMI…? It would be kind of a bummer to leave some of the cues there (with ASCAP) when I want the tracking to improve on future usage.

    Thanks again MichaelL! Very helpful ๐Ÿ™‚

    #15821 Reply

    MichaelL
    Participant

    One question… So with library tracks that you are not the publisher, for example, ASCAP still pays you for the writer’s share because you have left those with them due to the interested parties? Did you contact any libraries to have certain tracks moved over to BMI…?

    I’m in eight exclusive (WFH) libraries. I did not ask them to move cues from ASCAP to BMI. Yes, ASCAP still pays for those cues.

    I’ve never dealt with libraries like JP and SK, etc, so I can’t say if they would be willing to move your cues.

    The cues that I did move from ASCAP to BMI are for my own publishing company and library. With respect to new WFH cues. I just finished a collection for a long-standing client. Those cues and anything else going forward will be registered with BMI.

    I am going through the interview process right now,

    Like I said…not everyone gets into SESAC.

    Best of luck wherever you land!

    Michael

    #15822 Reply

    bradymusico
    Participant

    I’m in eight exclusive (WFH) libraries. I did not ask them to move cues from ASCAP to BMI. Yes, ASCAP still pays for those cues.

    So in this case do you still have the normal online membership access where you can see new cue sheets etc?

    Like I said…not everyone gets into SESAC.

    Best of luck wherever you land!

    Thank you! – B

    #15823 Reply

    MichaelL
    Participant

    So in this case do you still have the normal online membership access where you can see new cue sheets etc?

    Yes. I can still view my ASCAP accounts online.

    #15827 Reply

    P-9

    When it comes to pro payment accuracy in the world of domestic (US) TV, it’s not even close. SESAC is the most accurate by far. BMI is second and ASCAP is a distant third. Also, SESAC is by far the most helpful when there is a payment problem. ASCAP and BMI have a “explain it away” policy that will always be used first when presented with a payment issue. SESAC will actually look into the problem and try to find a result without the BS you get with the other two.

    #15828 Reply

    MichaelL
    Participant

    When it comes to pro payment accuracy in the world of domestic (US) TV, it’s not even close. SESAC is the most accurate by far. BMI is second and ASCAP is a distant third. Also, SESAC is by far the most helpful when there is a payment problem. ASCAP and BMI have a “explain it away” policy that will always be used first when presented with a payment issue. SESAC will actually look into the problem and try to find a result without the BS you get with the other two.

    That’s pretty much my experience regarding ASCAP, a distant third. When I left ASCAP, I chose BMI for the convenience of some other parties. Otherwise, I may well have gone with SESAC. If those relationships change, I may still end up at SESAC.

    That said, I’ve found BMI to be far more accurate in detecting performances, and very helpful when it comes to making adjustments, and have not encountered the “policy” argument.

    #15926 Reply

    bradymusico

    Hi All –

    I don’t really know how exclusive SESAC is these days but I was offered affiliation with them. I only have about 500 or so registered titles with ASCAP so certainly not as much to deal with as many others here at MLR but will be happy to provide info on my overall experience with SESAC and the migration. Here’s to better/more accurate future payouts! – B

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