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Can we all put our minds together to try and find out which of these networks actually pay performance royalties for USA broadcasts? Lately my Tunesat has been really lighting up on a lot of these networks and when I asked about whether or not these networks pay the PRO’s, one of my publishers just yesterday stated :
“Domestically, these will not earn a BMI, nor ASCAP royalty, however, royalties would come in from various international sources, specifically Canada. There is also a lag between domestic payments and international as they do take a little more time. Also, the data reporting from international territories may not be as clear as BMI, but when BMI provides international data, they are providing what they are receiving.
I am just scratching my head as to why? and How? did we get to such an absurd situation where the USA broadcasts of shows on these networks DO NOT pay American writers and publishers American performance royalties, but we wait for these shows to export to Canada and Europe and then those PRO’s DO PAY, and then loop the money back to BMI, ASCAP, and SESAC…so we do get paid 2 or 3 years down the line the fractions of cents they are willing to part ways with.
Meanwhile, the publishers collect away their blanket fees, these networks get our pro registered music, and of course, writers get the shaft.
Can anyone (any smart publisher execs here willing to discuss this) explain how we got to such an absurd arrangement with these networks? Any smart composer want to chime in with their thoughts on this issue?
Art, here is a complete list of TV networks, wondering if we can create a chart to list which USA networks will pay performance royalties for background cue usage, and promo usage?
http://beachplacelbk.com/wp-content/uploads/2018/01/Xfinity-Channel-Lineup.pdf
It’s a pleasure to see lots of usage of one’s music on TV shows, but then when you are told “Sorry these drops don’t pay until they broadcast overseas, and then the foreign pros send ASCAP, BMI, and SESAC the money for the foreign broadcasts.”
This shady arrangement that these networks pull off is just eternally frustrating. I mean can’t they just at least send us a few bucks for these performances?
Yep, it sucks. The U.S. has no interest in protecting it’s writers. If you want to create a spreadsheet with paying networks I will post. Another idea might be to create a shared spreadsheet on Google docs that a select few could contribute to.
Any other ideas on how to achieve this?
We all know these “under the table”, but not so secret deals go down. Publishers make theirs, the writers get nothing 98% of the time. If it helps, I get paid in the US for these channels from BMI. You’ll have to extrapolate backwards I guess to find who is NOT paying.
These are the networks / Channels from last qtr :
PBS, NBC, ABC, CBS, FOX, A&E, A&E HIS Espanol, AMC, American Heros, Animal Planet, Bravo, Cartoon, CNN Headline, Crime and Invest, Dest America, Disc Espanol, Discovery, FM, Fusion, FXX, Galavision, History, ID Discovery, Military Hist, MSNBC, Natl Geo Explor, Natl Geo Wild, Outdoor Channel, OWN, Oxygen, ReelZ Channel, Science, SHO Next, Smithsonian Ch, Sportsman, Sundance, Telemundo, TLC, Travel, Universo, Vice, World Fishing, Local TV, SuperstationThen on the internet :
Apple Family, Apple Indivi, Apple Student, Apple Trial, Apple Ver Trial, Apple Veriz Bun, Apple Verizon, Apple Winbk, Deezer, Google Play Sub, Napster Premier, Pandora, Pandora Plus, Pandora Premium, Songpop, Soundcloud Plus, Spotify Family, Spotify Free, Spotify Premium, Spotify Student, Tidal, Youtube Free, Youtube Music, Youtube Premium,Amazon VOD, Apple TV Channels VOD, Disney Plus, Fandango Now, HBO Max, Hoopla Digital, Hulu, MSOFT VOD, Netflix, Quibi, UMC, Xumo, Xumo 2015 2020, Youtube VOD,
And then into international stuff which I don’t think you are questioning. Hope that’s helpful. If you make a database spreadsheet, I’d love to see it so that when I get brief’s, I can choose whether or not to write for them. As a matter of fact…something that might be useful is a rating system for the channels : 1 – pays out good, 2 – pays OK, 3 – pays terrible.
-=LAWriter=-
Hi all,
Just got a hand full of placements on UNIVISION. This may have been addressed already but does this payout a little better than cable? I see on my ASCAP statement that (like CBS, NBC, and ABC) it has its own column. Any thoughts would be appreciated.This is a topic of great interest, and I hope it stays active.
great topic;
do any knows if outdoor channel pays any royalties ?
I never received any payments from the Outdoor Channel. Anyone else?
No, I haven’t. Has anyone received payouts from UNIVISION?
Not for me on Univision. You can also check here for the paying networks.
I had a small payment ($2.18) from one Univision show called “MIRA QUIEN BAILA” on my last BMI statement. My track aired for just 0:04 and had 66 hits. I’ve seen more Tunesat hits from this network recently.
To my knowledge Scripps Networks (HGTV, Food Network, etc.) have never paid back end royalties, but are instead ‘buy out’. I’ve never worked for a library catering to these, so I don’t know exactly what that looks like for composers, but I’ve always avoided them personally.
There was a big potential blowup that happened when they merged with Discovery Networks… Discovery threatened to adopt their model and stop paying back end, but there was a major revolt amongst libraries and composers and they eventually backed off that idea (thankfully).
“To my knowledge Scripps Networks (HGTV, Food Network, etc.) have never paid back end royalties, but are instead ‘buy out’.”
Generally true but we have music on “Love It Or List It” and it pays very well. One cue, two episodes last BMI statement, $157.86. It’s been running for the last couple of years. Why? I have no idea.
Good news Art! I have a track currently running on Love it or List it! Waiting for the cue sheet.
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