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I’m glad it’s working for you
I don’t expect an overnight change. But, it’s sometimes better to plan for change rather than having to respond to it after the fact. Obviously, libraries like SK and JP are looking ahead.
Maybe there’ll be a work around.
All the best,
_Michael
@TheOne…too much speculation. I hope they figure out a work around for everyone’s sake. I’m playing it cautious right now. But, if they figure out a way to make it work, I’ve got a few thousand tracks that I’ll happily re-title. Otherwise, I’ve got a few thousand tracks that I’m going to produce 5 different ways. 😉
Yes, hope so…just too many have done re-titles, its not so easy to dump it.
Thanks!
Micaell…Laughing Out Loud!!
Cheers guys…off to Led Zeppelin 2! at House of Blues tonight…I hope it’s cool.
@David. Ramble On…enjoy!
just too many have done re-titles, its not so easy to dump it.
I’ve been saying this for years. A lot of folks have been saying “the sky is falling” but I just don’t buy it. That genie is out of the bottle and will be impossible to put back.
Too bad for non-BMI, non-ASCAP members. We don’t get the infos you guys get so TuneSat is my only bet atm.
Even when royalties come in, there are no infos on what stations, how many plays, which tracks were used etc.
It really sucks to have to chase up for these infos all the time =(
“iS ANYBODY GONNA TRULY BE FOR THE COMPOSER?”
Not that I know of… yet.
Tunesat is just not worth it in my opinion anymore.
It’s worth it for me as I have collected money that I would have otherwise missed. Recently Tunesat has been detecting a commercial that’s run well over 2000 times. I would not have known that and been able to file the necessary documentation with BMI.
@Axiomdreams…Just don’t get concerned about the noise on these discussion boards. Just write great tracks and feed them to the folks that turn them into money. I don’t have a tunesat account and I will never get one. It will probably just create anxiety and disappointment if I see info that my tracks are used more often than reported. Who has time to litigate anyway? It’s an imperfect system and always will be. Composers, just NEVER give up your rights to your intellectual property. Never ever sign a deal that says…”this is now only ours (the publisher) in perpetuity”…unless of course you are paid a “work for hire” or an advance for the cue.
just too many have done re-titles, its not so easy to dump it.
“I’ve been saying this for years. A lot of folks have been saying “the sky is falling” but I just don’t buy it. That genie is out of the bottle and will be impossible to put back.”
From a strictly legal point of view, I don’t think that it would be hard at all to dump re-titling.
1) The re-title contracts don’t really obligate the library to the composer, and
2) The PRO’s governing documents allow them to not pay composers and publishers for any reason.
In other words, it’s not a matter of putting the genie back in the bottle. Legally, they can simply turn the faucet off, and say “from this moment forward, we do not pay for re-titled tracks.” That is kind of the nuclear option instead of working things out.
I don’t think that this is analogous to Wall Street, where PROs would consider retitling to big to fail.
I do think that there’s enough of a likelihood that retitling will either fade, or be limited in some way, that I won’t do it until the situation resolves.
The upside to that approach is that my catalog isn’t in jeopardy. The downside is that I might, emphasis on might, be missing some near term opportunities. If the situation resolves in favor of retitling, then great, I’ll have a big catalog, ready to roll. If retitling goes away, then, I will have preserved the long term value of my catalog.
I guess that’s the product of being a lawyer…to err on the side of caution.
I hope it all works out in everyone’s favor.
Michael
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