How does the Big 10 network get away with not paying?

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Viewing 10 posts - 41 through 50 (of 52 total)
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  • #33396
    Strat56
    Guest

    Music1234. Maybe that’s the very thing Socan is doing in regards to your suggestion about BMI. Driving rock, blues rock is what they’re using of mine, I do a whole lot of that. I’ll be sending them my next batch of documents tomorrow and will ask them about the BMI angle.

    #33401
    LAwriter
    Participant

    re: the ASCAP vs. BMI thing…..

    Yes, no doubt ASCAP is in the business of taking care of themselves before the composers they represent. Unfortunately, for those naive enough to thing that BMI is different, I can assure you it is not. One may come in higher than the other, but it can alsop flip back to the other side. There is zero doubt that BMI has a HIUIUUUUUGE agenda, and unfortunately, it does not include those who write for libraries. Tough luck for us I’m afraid. I’ve had it with BMI, and their veiled agenda’s, lack of truthfulness, and incredibly narcissistic behavior. Then again, ASCAP isn’t looking too good either.

    As mentioned many times – the answer to our problems is a library music based PRO that deals only with production music. Until then, feel free to sit at the back of either PRO bus.

    #33402
    LAwriter
    Participant

    PS – BMI has tons of cue sheeted placements they don’t want to pay for either. And they don’t. The only difference between ASCAP and BMI? At least ASCAP lets you SEE your cue sheets. With BMI, everything – and I do mean EVERYthing – is hidden behind an impenetrable curtain. Good luck with that….

    #33417
    Vibe Walker
    Guest

    Hey guys, does anybody have Paul Williams email address? I will definitely contact him regarding my issues with them not paying out for these Sports placements as well.

    #33419
    Advice
    Participant

    Both ASCAP and BMI have issues, no doubt. BMI pays better for vocal songs (and many times instrumentals too) and many feel more money is worth the lack of cue sheet visibility.

    As mentioned many times – the answer to our problems is a library music based PRO that deals only with production music. Until then, feel free to sit at the back of either PRO bus.

    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.

    In NO way am I minimizing the problem of not getting paid for our work. And yes, we should contact “up the chain” at our PROs to let our voices be heard. But politely and professionally, while still being emphatic is key.

    #33423
    LAwriter
    Participant

    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.

    #33425
    Art Munson
    Keymaster

    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.

    #33426
    Advice
    Participant

    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.

    #33427
    Art Munson
    Keymaster

    Evolve or die.

    Great advice, Advice!

    #33428
    pgbanker
    Participant

    @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?

Viewing 10 posts - 41 through 50 (of 52 total)
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