PRO deposit

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This topic contains 16 replies, has 8 voices, and was last updated by  Art Munson 3 months ago.

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  • #26701 Reply

    Wall_E
    Participant

    Super newbie question, please be patient 😉

    Should I deposit the tracks I have submitted to a non exclusive library (Pond5, audiosparx)?

    I’m asking this because I’ve recently signed with an exclusive library for a 12-track album and they told me that they will do the deposit to my PRO, they just needed my IPI number, track titles etc.

    Thank you for your help!

    A very confused Wall_E

    #26702 Reply

    KevinHRoss
    Participant

    Hi Wall E,

    From my experience AS usually registers tracks for you. (They’ve registered mine with ASCAP). As for P5 I’m almost certain they won’t register anything with a PRO but perhaps other members can confirm.

    Hope that helps.

    #26703 Reply

    Michael Nickolas
    Participant

    From my experience AS usually registers tracks for you.

    Why would a non-exclusive RF company register tracks with a PRO? They have no stake in collecting writer or publishing royalties. Am I missing something with AS?

    #26704 Reply

    Art Munson
    Keymaster

    From my experience AS usually registers tracks for you.

    AS will register with the PRO if you are non-exclusive but have assigned the publishing back end to them. They will append a code to your title so basically a re-title. They will take care of chasing down the client to make sure they file cue sheets, jingle docs, etc.

    If you have not given AS the publishing income then you should register.

    P5 does not register with PROs.

    #26705 Reply

    Lee Johnson

    Hi Michael,

    Thanks for your inquiry. AudioSparx administers publishing for over half the artists who participate here. Our publishing admin group has access to information systems, software tools, and society relationships that you as an individual composer would not have access to. As a result, in general, we can do the job more effectively than individuals can.

    Additionally, by allowing AudioSparx to handle it for you, you become eligible to participate in various opportunities that otherwise you would not be able to participate in.

    Further, by having us handle it for you, it frees you up to focus on writing more great music.

    Additionally, please bear in mind that if you are affiliated as a composer with any society in Europe, South America, Canada, and certain other countries, your society controls the licensing of your public performance rights on an exclusive basis. This limits how we can use your music with the direct licensing commerce we are engaged in (e.g. RadioSparx). To resolve this problem, it is HIGHLY recommended that you move your PRO affiliation to ASCAP or BMI in the US, which hold a strictly non-exclusive control over their member’s music. Many of our top-earning artists have already made this move and we highly recommend that you do too, if you are affected by this.

    In general, by allowing us to handle your publishing admin, your net earnings increases and it conserves your time.

    Regards,

    Lee Johnson
    [email protected]

    #26706 Reply

    Michael Nickolas
    Participant

    I see, that explains why, in some cases, you would register cues. Do you split publishing with the artist, or take 100%?

    #26707 Reply

    Lee Johnson

    In exchange for performing the full work required to administer publishing, we earn the full publishers’ share, and you (i.e. the listed composers for each track) earn the full composers’ share. We do not split the publishers’ share with the vendor or composers.

    To delegate publishing administration for your account to AudioSparx, please proceed here:

    http://www.audiosparx.com/sa/publisher/pubmgr/license.cfm

    If you’re not sure and want to learn more, please read here:

    http://www.audiosparx.com/sa/kb/article/show.cfm/kbarticle_iid.1575

    Regards,

    Lee

    #26710 Reply

    ChuckMott
    Participant

    Wall-e, do the homework on the exclusive library in question. If uou are saying you already have the 12 tracks, and that is all you have, you may want to go with the exclusive – 12 tracks is barely a ripple in a huge royalty free library. Also research the difference between what folks here refer to as royalty free vs nonexclusive vs exclusive. No easy answer. Don’t want to ruffle feathers, but when people talk about non-exclusive, they refer to libraries that are looking at predominantly seeking out tv and film placements, which is not where audiosparx and pond 5 primarily focus. Those are more what they refer to as royalty fee, and focus on other uses – internet, ads, corporate uses, etc. Not quite as likely to earn you royalties down the road. Exclusives and nonexclusives, tv and film placements are the primary focus. Sorta kinda controversial, but you can have music in royalty free libraries and non exclusive libraries. Non exclusive vs exclusive is a debate but you will find a lot of guys here diversify and put music in those and in royalty free. Read the reviews here on the exclusive library in question.

    #26711 Reply

    Wall_E
    Participant

    Thanks for all the replies. So many interesting points, thank you!

    Why would a non-exclusive RF company register tracks with a PRO? They have no stake in collecting writer or publishing royalties. Am I missing something with AS?

    As far as I understand non-exclusive or exclusive RF is not a synonym of “we will not collect performance royalties via your PRO”. Am I right?

    Additionally, please bear in mind that if you are affiliated as a composer with any society in Europe, South America, Canada, and certain other countries, your society controls the licensing of your public performance rights on an exclusive basis.

    Thank you Lee. For “society” you mean PRO, right? So basically, since I am affiliated with the Italian PRO, I’m limiting the potential exposure of my music. In which way exactly?

    If uou are saying you already have the 12 tracks, and that is all you have, you may want to go with the exclusive – 12 tracks is barely a ripple in a huge royalty free library.

    This library offered me to sign an exclusive contract for 12 trailer tracks. I have currently more than 200 tracks on my catalogue. I’m trying to figure out the smartest way to proceed in order to distribute them and investigating the “best” libraries to work with (even if I know there is no such thing as the best library).

    Coming back to my original question, I asked this because, let’s say I’ve decided to deposit autonomously the tracks I’ve just submitted to a library via my PRO website. During the online procedure there is a drop-down menu asking:

    IS THIS TRACK WITH OR WITHOUT PUBLISHER?

    and here I go in Kernel Panic. 😉

    #31525 Reply

    Wall_E
    Participant

    I bump this old thread of mine because today I was talking to a composer and this old issue came out again…and again…and again.

    He said to me that if I give a track to a RF library it’s prohibited to deposit this track to my PRO. This is still totally non-sense to me since Royalty Free does not mean Free from Royalties if I’m not wrong. What if this track ends upon a movie that goes on TV? I can say byebye to back-end royalties!

    #31526 Reply

    BEATSLINGER
    Participant

    What if this track ends upon a movie that goes on TV? I can say byebye to back-end royalties!

    Depends on the terms and conditions of the site/company you uploaded the song to. This is where that big difference between Royalty Free, Non-Exclusive, and Exclusive comes in..

    If this is a “Royalty Free site/company where there is a simple “1time fee for usage into perpetuity”. There would be no need for the user to file a cue sheet, or pay any additional monies”‘

    If the composition/song is on other sites where it is “Non-Exclusive” you would be able to seek back-end monies, and there should be a cue sheet.

    Back-end, and the possibility of sync/licensing fees would be the main goal of the Exclusive..

    #31527 Reply

    MichaelL
    Participant

    He said to me that if I give a track to a RF library it’s prohibited to deposit this track to my PRO.

    Wall_E, it has nothing to do with the terms of the various librarys’ contracts. It has to do with where you live and which PRO you are affiliated with.

    In the U.S, our courts have ruled that composers have the right to direct license their music. In other countries that is not necessarily the case. Depending on where you live and which PRO you are affiliated with, your PRO may have the exclusive right to control the tracks that you register with them and, as such, you may not be able direct license those PRO-registered tracks through RF libraries too.

    This is one reason why it can be advantageous to join a U.S. PRO, even if you aren’t a U.S. citizen.

    #31528 Reply

    Art Munson
    Keymaster

    If this is a “Royalty Free site/company where there is a simple “1time fee for usage into perpetuity”. There would be no need for the user to file a cue sheet, or pay any additional monies”‘

    Have to disagree with this. Even though a cue sheet wasn’t filed and it was used in a broadcast you could still be eligible for back-end royalties.

    #31529 Reply

    BEATSLINGER
    Participant

    Have to disagree with this. Even though a cue sheet wasn’t filed and it was used in a broadcast you could still be eligible for back-end royalties.

    I mentioned first it all depends on the terms and conditions of the site you uploaded to.

    #31530 Reply

    Art Munson
    Keymaster

    I mentioned first it all depends on the terms and conditions of the site you uploaded to.

    Not sure there are a lot of those types of RF sites around. “Could” was my operative word.

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