How Was Your PRO Payment For January 2013?

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  • #8485 Reply

    Hello Everybody

    I just joined and hope to catch up with everyone and contribute where I can. I have been a writer/publisher member of ASCAP since 1994. This January I had my best payment from ASCAP, at $3900. They sent me a letter in the mail saying they had incorporated more electronic web and TV monitoring, and in some cases it has resulted in larger income streams for members. I am not a composer’s composer, but actually a live gigging/songwriting rockabilly trio guitarist/frontman. I’m based out in Denver. After reading one of Art’s posts I subscribed to Tunesat a year ago, and have seen a lot of action on there, on TV reality shows. I was wondering if ASCAP was actually catching it, and if cue sheets were being filed. There didn’t seem to be enough cue sheets on file to match the Tunesat reports. I’ll fill out one of those new “composer” interviews soon, just to introduce myself. Looking forward to learning from everyone.

    #8488 Reply

    That’s a nice PRO payment! Also, welcome to the forums! =)

    #8494 Reply

    January was a little weak for me but still enough to buy some new gear and take the wife out for a weekend getaway 🙂

    #8495 Reply

    Still waiting…… for 2nd Q 2012 and some of 1st Q 2012 from BMI. They’ve promised a catch-up payment before the next distribution. Switching from ASCAP to BMI is a PITA!!!!!!  But, will hopefully be worth it (in my situation).

    #8722 Reply

    Finally!  The process of switching from ASCAP to BMI took about 1.5 years!!! It should only take about 6 months, depending upon your affiliation date. My move was complicated because I moved my publishing too.

    Although, BMI missed my first distribution, which was to be January 11, they were stellar and true to their word in providing an adjustment ASAP.

    Was it worth the hassle and aggravation???? Absolutely. BMI paid five times (yes 5x) more than ASCAP for the exact same cues in the exact same shows.

    The difference is that ASCAP missed about 75% of the performances, because of its data collection / survey methods. ASCAP also paid less per minute due to its weighting formulas.




    #8729 Reply

    I received my first ever royalty check in January. It was a nice surprise from BMI

    #8730 Reply
    Steve B.

    @MichaelL – You really have me seriously thinking of changing to BMI. Sounds like it’s a PITA, but ultimately worth the switch. Any advice on best way to handle it?

    #8731 Reply

    My situation was complicated because I have several publishing companies, one with ASCAP and two with BMI. Not only did I switch as a writer, I moved all of my tracks from my ASCAP publishing company to one of my BMI publishing companies.

    ASCAP requires that you provide written notice within a 90 day window, based upon your affiliation date. You can get that information online now in your account access under “my membership.”  Once you notify ASCAP, it doesn’t become effective for about 6 months.

    The difficulty for me was that my writer and publisher affiliation dates are 6 months apart. So, the notification and release periods didn’t line up.

    If your tracks are published by other publishers, you can elect to leave them with ASCAP, and just switch to BMI going forward. Otherwise, you’d have to get all of your publishers to agree to move your tracks. And, each of them would have to give ASCAP notice based upon their affiliation date. Sound confusing?

    I have another writer who contributes to my libraries, and he decided to switch as well, because I place his music in the same shows. We lucked out because his notification period and my publishing company’s notification period are the same. So, I’ll move all of his works to my BMI publishing company on the same date the he becomes a BMI member.

    One other curious thing that I discovered during this process…if your have older titles that were “paper registered” with ASCAP, prior to when they built their database AND those titles never earned any royalties, they simply don’t exist as far as ASCAP is concerned. Those titles aren’t in their system!

    As I said, your milage may vary. My situation arises from the fact that all of the music in question is broadcast in syndication outside primetime. For regular network broadcasts and top tier cable, the differences may be minimal.





    #8732 Reply

    You may be onto something Michael L, below are some payouts my writing partner received for the same TLC show (different episodes) . For privacy purposes, I am not going to list the title of the track nor the publishers.

    Writing partner received this from BMI  for these cues on TLC show:

    00:12 20122 100.00% $25.46
    00:31 20122 100.00%  $27.34
    00:17 20122 100.00%  $15.00
    00:20 20122 100.00%$24.62
    00:24 20122 100.00%  $31.34

    ASCAP paid (me) this much for these cues on the same TLC show:

    00:53 0.127 $0.90
    00:51 0.561 $3.98
    00:06 0.130 $0.92
    00:00:28 0.301 $2.14

    Clearly a huge difference! It’s the same show! same network, same usages….background music cues…this is bizzarre.

    However, when we compared network placements…ASCAP paid a bit better…not much just a tiny bit more.

    #8734 Reply

    @Glen, that chart seems pretty off to me. How many usages is your partners statement for on those shows? And what day part are they for? That factors into it as well.

    I am with ascap as well and you can see on our statements what part of the day it was on and how many usages. I’m not sure if bmi does that as well or if they just lump them all together.

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