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Hey all,
I just want everyone to know that I am in a situation where, the initial statement is “Unfortunately there were no Sync Fees attached to those placements.” from an inquiry I made to a library for a national Target TV spot featuring Sean White, Olympic snowboarder, as the celebrity. I have actual proof of the spot recorded off of TV containing my music. I also have the Competitrack codes for the spots as further proof.
I want to bring this up now to increase awareness of an on-going, and increasingly problematic situation with music publishers. We’ve now seen many coming forward talking about “lowest synch fees ever paid”, “we paid you too much, so now you owe us” type of synch fees. I encourage established and successful writers with hundreds of tracks on the market to write to their publishers (at least once every 8 weeks) to inquire about up front synch fees into projects outside of background cues into TV shows.
I often feel as though that if we don’t ask….they won’t tell, and the fact that they can pick any number they want off the top of their head is also very problematic. I feel as though we should be entitled to a copy of the license granted when our music is used in spots to keep things transparent.
Of course, as is typically and increasingly the case, my e-mail inquiries were initially met with silence. I’d write, “Hi, I saw this attached commercial on the air with my music recently and it’s still airing, can you please tell me what the synch fee is for this project?” That question was met with silence several times and then eventually a reply came in stating “that one isn’t paying anything out”.
I do not accept that statement and have escalated the inquiry. Why do we continually have to get put through this stress? How can a national spot be made where the voice over was paid, the editor who cut the spot together was paid, the celebrity, Sean White was paid, and NBC is getting paid by Target to sell the media time and sponsorship. Everyone gets paid…everyone but the composer?…really? is this where we are at?
When does this insanity stop?
If making money is truly this hard for full-time, I feel bad. These situations are not right. But I am not going to protest. I am a part-timer and I do not want to spend my time begging for money.
The full-time guys should definitely beg whoever they have to in order to make money. Keep putting pressure on companies until you get what you want. Good luck guys.
Then you’re a sucker. If your boss at your regular job worked you 80 hours a week, but only paid you for 40, I’m betting you’d rationalize all the live long day.
Sounds good. Thanks.
Anyway, composers can always find alternatives to traditional libraries. The royalty-free companies get a lot of mention on MLR. That may be the best option to earn upfront money. Unfortunately, the backend is likely to be missed. Some buyers don’t worry about filling out cue sheets.
Hang in there, guys.
Can you PM me the name of the library? Or better still, can you post it here so we can avoid?
Even better yet, can you post a summary of this in the page for that library?
Also, a question, does your contract with this library give them the rights to offer your music in blanket deals with no compensation for you?
Or better still, can you post it here so we can avoid?
Not here but on the library’s listing.
Things will work out in the end.
I’ve always hoped for a spot like that and now I think, wow years of learning and perfecting the craft and I’ll have no real return for that effort. A fair share is all any of us could ask for… I hope my goal of doing this full time is not thwarted in the coming years…
The royalty-free companies get a lot of mention on MLR. That may be the best option to earn upfront money. Unfortunately, the backend is likely to be missed. Some buyers don’t worry about filling out cue sheets.
DI…that’s because a huge chunk of RF business is not in broadcast productions. There is no backend. It’s a different world.
Do you just say what ever pops into your head for kicks?Denbo a spot like that (promo) isn’t a big deal. I had an ABC Christmas a few years back. I think the backend was a few hundred dollars.
Yes, More Advice…that sucks. It may be that they charge “good” dollars for the non-braodcast and radio stuff precisely because there is no backend. So, the only money that they, and you, make is the sync fee. I guess the rationale is that money is money, no matter which end you get it from.
Dude..do your boutique exclusives pay upfront fees? The exclusives that
I write for do. So….I was not paid a sync fee for the ABC Christmas Promo (an arrangement of Jingle Bells, no less). But the backend, which ASCAP did pay was around $200.The only exclusive that I’ve been with that paid sync fees was NFL, back in the day. So, sync fees aren’t something I’m used too. One other exclusive offered to split sync fees, but for a lower upfront fee. I declined.
Yeah, a remember Yadgyu. Definitely echoes of him around here lately.