No licensing fee–collect royalties only?

[BEATSLINGER]

My comments have nothing to do with Exclusive, vs Non-Exclusive.
I am just referring to reputable, vs non-reputable, and the conversations that I have had.

I still stand on the fact that accepting bad deals sets you back years, and takes you longer to get ahead.

[Music1234]

for a small cable tv show, how much could the royalty possibly be? I don’t see how this could even buy lunch. Now the claim is not that the person will keep the sync fee, the claim is that there is none.

Not sure how many years of experience you have Kevin, but background usage in reality cable shows rarely pay up front sync licenses. They typically just get used in shows and are cue sheeted. You then are paid the royalty by your PRO for the air date. They also often re-run a lot and create more royalties over time. One and done broadcasts are more for Live Sports broadcasts. And those often are not really “one and done” If sports shows like a cue, they will use them as bumpers across many live sports broadcasts. It seems like we all need more information about your deal before we pass final judgement.

I agree with everything Art says above too. Having total control over your catalog is increasingly very important. I know many writers can claim that they do very well writing exclusive music for reputable libraries, but one of these days, they will wake up and say…hmmmm….what happened to those 500 pieces of music I wrote over the last 5 to 10 years? I guess they are under the control of ________publisher/ library and I have no way of getting them back. 2 to 3 year reversion clauses are very important.

[kevinjohnston1]

Thanks for the reply. Actually helpful. I am am going to let the deal go through, because there is absolutely zero harm to me–I give up no publishing or any other rights. It’s kind of like getting 5% back on my credit card. It doesn’t amount to much, but I’ll take it.

[Author]

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