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Such a thing doesn’t exist. And probably never will. All we can do is keep an eye on our music (tunesat, etc) and keep contacting our PRO if it looks like they are missing something.
I am aware it doesn’t exist. And I’d agree that it most likely never will in the near future. The reason I mentioned it is that if it DID come into play at some point, it could be commissioned and directed towards PRODUCTION MUSIC only, and that would change our livelihood immensely. The vast majority of music that is broadcast is production music (BMI’s leadership is on record on that one) – not pop music – and the shift of monies in it’s correct direction would be a massive paradigm shift that current PRO’s will never allow.
As for watching Tunesat…that’s a joke. I have far too many titles to register and track them on Tunesat and still have enough money to eat. PLUS, more importantly, BMI doesn’t acknowledge Tunesat placements. So what’s the use?
We’re stuck with our current PRO’s and the paradigms they have set in places – like it or not. Carry on….. Sorry if this comes off negative. It is what it is.
As for watching Tunesat…that’s a joke.
It hasn’t been for me.
We’re stuck with our current PRO’s and the paradigms they have set in places
True, but that doesn’t stop me from looking for other ways to make money with our music.
Art has the right approach. Keep finding new ways to make income from your music as things change in the industry. Not saying it’s pretty or easy or that everyone can do it. Evolve or die. You can’t change the big machinery in most cases, you learn to work around or despite it. Full disclosure, I do not make a living on production music by any means. But I do know a number of 6 figure production music guys and they are always keeping an eye on changes, diversifying, etc. And though they do note problems, I rarely hear them complain and never at the level of intensity I read on here.
As far as PROs, there may be a lot of production music broadcasts but many are small paying (cable, etc) and (Don’t know for sure!) it probably is small potatoes compared to broadcast of pop hits, dollar-wise. Money is always the driver. Calling for a “production music only” PRO is like calling for all composers to magically unite and form a union.
I agree that Tunesat beyond the free account is too expensive for most. But regarding PROs not accepting Tunesat as proof– that’s true but you can take the info to your library and ask them to look into it. I have successfully done that. Since they get 50%, it’s obviously in their best interest.
Evolve or die.
Great advice, Advice!
@music1234 – As you suggested, I sent a note to Cathy Nevins (ASCAP Director of Public Relations) about the negative effects of the ASCAP sample surveying practice. I suggested to her that she read through this thread and provided a link.
@Art Munson – is there a way to make this thread available to Cathy Nevins and her ASCAP colleagues?
is there a way to make this thread available to Cathy Nevins and her ASCAP colleagues?
Just send her this link: https://musiclibraryreport.com/forums/topic/big-10-network-get-away-not-paying/
This thread has run it’s course and I think everyone gets the point. Now closed.
- The topic ‘How does the Big 10 network get away with not paying?’ is closed to new replies.