ASCAP to SESAC

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  • This topic has 29 replies, 7 voices, and was last updated 12 months ago by MM1.
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  • #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
    Guest

    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
    Guest

    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

    #18308 Reply
    bradymusico
    Participant

    Hi Folks-

    Just figured I would update this thread, in the event that there are others attempting to make the switch at some point. I did give my notice of resignation to ASCAP this week and, after discussing some of the complexities of migrating works (much of what MichaelL outlined above), have elected to leave my current catalog at ASCAP and start fresh with SESAC in April 2015.

    More to come…

    Happy Muziking! 🙂 – B

    #18314 Reply
    Musicmatters
    Participant

    Hey Bradymusico. Best of luck with your move, is there a reason why you have left your current catalog with ASCAP ? Thanks

    #18315 Reply
    MichaelL
    Participant

    Hey Bradymusico. Best of luck with your move, is there a reason why you have left your current catalog with ASCAP ? Thanks

    I’m sure Bradymusico will fill you in on his experience, but here’s a recap of what I advised him, to which he refers to above.

    It’s not easy to move an entire catalog, unless you are the publisher. If not, each publisher of your works has to agree to remove those works. Additionally, the timing of works removal is based upon each publishers affiliation date with ASCAP. If you have a lot of works, and a number of different publisher’s, it could be a nightmare. Plus, they might not all agree, and you can’t have the same works in multiple PROS, unless there are multiple authors and multiple publishers.

    When I went from ASCAP to BMI, I only moved my TV catalog, for which I own the publishing. Older works, published by various WFH exclusive libraries, stayed at ASCAP. I’ve been with BMI for two years now, and I still get ASCAP royalties for older works, some going back 15 or 16 years.

    A friend, who has contributed some cues to my TV catalog, also switched from ASCAP BMI. After checking with some of the NE libraries that he writes for, he also decided to leave his old works in place.

    Cheers,

    Michael

    #18317 Reply
    bradymusico
    Participant

    Hey Bradymusico. Best of luck with your move, is there a reason why you have left your current catalog with ASCAP ? Thanks
    I’m sure Bradymusico will fill you in on his experience, but here’s a recap of what I advised him, to which he refers to above.

    MichaelL said it all (thank you, sir!). 🙂 Even though my catalog is smaller compared to others here (500+ titles), it was enough of a hassle given the WFH and other pubs I’ve worked with. Though I am a bit bummed to leave some of the good money cues at ASCAP where I just “hope for the best” on the surveys, I guess that’s incentive to write better cues and have them at SESAC! – B

    #18319 Reply
    Mark_Petrie
    Participant

    What would you do with music that you own but has been re-titled? Come up with new names and register them with the new PRO, to potentially give them to new non-exclusive libraries / projects? Is this ok?

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