Cue Sheet Success Stories

[cherrybakewell]

I have to say from a UK point of view the PRS has really upped their game recently. I do spend alot of time going through cue sheets and notice mistakes all the time. I raise a query and nowadays they deal with it within 2 weeks max. In years gone by they have taken up to 2 years to sort a query!

I am not sure but I rather suspect they prioritize those of ‘full member’ status.

[Steve]

@MichaelL When I added my case number to the cart for checkout, the cart only listed one of my sound recordings (not all 50 titles.) I wanted to make sure all 50 titles were being submitted for the $55 fee. Their answer of “yes, everything is really there, that’s just the way it is in this online system, we get that question all the time” worked for me, but it was definitely confusing.

[MichaelL]

@Steve… sounds like you registered a collection. The collection itself should have a title like “Steve’s Songs Volume One.” Then, there should be an option to list all of the individual titles in the collection.

It’s a very quirky system!

[Steve]

@MichaelL

The collection itself should have a title like “Steve’s Songs Volume One.”

I couldn’t figure out how to give the collection a title. I’m not sure it’s even possible based on the response I got in my phone call to them.

It’s a very quirky system indeed, one that still lives in the dark ages.

[yzzman1]

Ok I have a simple cue sheet success story. A library I am involved with placed a single cue many times on 106 and Park on BET. As of being considerably past due, I reached out to ASCAP to look into the cue sheets. Long story short is that I was not included on them. At the time I wasn’t sure as to what library placed it – so I reached out to BET to find out who produces the show and learned that it is mostly in house production. They put me in touch with someone in music administration who was extremely nice and helpful. She looked up the cue sheets in question and saw I was not included. I sent her over the TuneSat reports….that was key. She went over it with the producers and amended the cue sheets and resubmitted to ASCAP.

[yzzman1]

She also sent me a copy too by the way….which I provided to ASCAP. Got am email from them saying all is good and the cue sheets will be processed and paid out on the next statement.

[Desire_Inspires]

That is great news. Congrats!

[Art Munson]

Congrats yzzman1! Some folks here have discouraged that but I’ve always been a believer in following up with a network or production company. Of course one has to know when!

[yzzman1]

Here’s a new cue sheet success. I had a track of mine used for one minute on a documentary style show that aired about ten times on NBC Sports and then went on to air on NBC. No cue sheet had shown up in my ASCAP account for a year after airing. The track is with two non exclusive libraries and three RF libraries – so it would be difficult to narrow down which library it came from. I just used google to figure out who produces the show and with some basic research I tracked down a phone number. After a few transfers I was told I’d receive a call from someone at the production company. Two weeks later I did receive that call and I asked for her email address so I could send her specific info about the airings. Within one week of talking to them the problem was corrected and I now appear on the cue sheet. Another interesting point we have discussed here in the past – this placement which was for airings on NBC Sports and NBC Network – was from a royalty free site. Though the exception rather than the rule – you never know. Though the majority of my tv placements come from more traditional music libaries, it’s not the first time that’s happened to me with a royalty free site.

Total time working on problem: 15-20 min. Lucky it was easy this time.

[Art Munson]

Cool yzzman1, congrats on that!

[yzzman1]

Thanks Art.

[yzzman1]

Continuing this thread with news – hoping more people fight to get the cue sheets turned in or corrected that matter. I’ve spent about maybe an hour of time total over the past year making phone calls to ASCAP and Crackle about turning in Crackle’s performance data. They were missing tons of data and various parts of various quarters and therefore the PRO’s were not paying. I have a bunch of music in Jerry Seinfeld’s Comedians in Cars.

Anyway, that work finally paid off. crackle finally turned in the missing data. I knew the royalty would amount to at least something because it’s a highly viewed internet show. Total of one hour work added $250 to the ASCAP statement. Each episode had over a million views and I had music in four episodes. Worth it? I say yes for an hour.

Still working on getting a few more cue sheets corrected with wrong info. It seems to be paying off as long as I pick and choose the ones that should amount to something.

[Blind]

yzzman1, I’m curious, how much does ASCAP pay on say a :30 placement on Comedians in Cars?

[Yzzman1]

It’s hard to be exact because I’m not sure how much the time difference will affect it – but estimating based on what I got – and the episodes having at least a million views id be surprised if it was less than $50-70 for one episode.

[Art Munson]

I had a number of cues in Comedians in Cars also. Fortunately I didn’t have to chase BMI. That’s because Tunesat didn’t pick it up so I didn’t know. The best paying cue was 1:43 at 2,424,714 views and paid$ 118.74.

[Author]

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