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Contract indicates: Library can only use compositions under alternate “work titles.” Library registers retitled works and collects all income except writer performance royalty income. Writer shall administer compositions and collect income for uses and/or licenses by writer (copyright owner) under the original or any other titles.
Is this a complex way of saying that, if I would want that writer performance royalty income, I need to register the retitled name?
Is this a complex way of saying that, if I would want that writer performance royalty income, I need to register the retitled name?
No it does not. You would still get your writer’s income from the retitled work as they will register that title with you as writer and they as publisher. They would only collect the publishing income.
You would/should register any other titles (not being used by other libraries) with you as writer and publisher.
At least that’s a typical deal unless you have made one of those horrible deals where the library wants a piece of the writing income. In that case they would register as publisher and co-writer with the alternate title.
With fingerprinting it can create conflicts if you register the new title with your PRO. Mine (Gema) said I have to register it as alternative title on the same work and publishing rights are goner worldwide. I will not work with these retitlers.
Mine (Gema) said I have to register it as alternative title on the same work and publishing rights are goner worldwide.
Interesting, not a requirement with BMI, as far as I know.
I will not work with these retitlers.
All non-exclusive libraries re-title in some way. Mostly by appending a code of some sort. As an example Jingle Punks ads JP to the end of your title. “My Song” becomes “My Song-JP”.
Ok so I wonder: if I go non exclusive with 5 retitlers and they all get 50% of my royalties as publishers on Ascap how is my PRO supposed to work this out? Is each getting 10% because he is 1/5 th ? I would have to register 5 versions of the same title with 5 publishers in case its the same track. But the fingerprinting will always see the same file…
Ok so I wonder: if I go non exclusive with 5 retitlers and they all get 50% of my royalties as publishers on Ascap how is my PRO supposed to work this out?
It’s pulled from the cue sheet.
Yes pulled from the cue sheet but my PRO will pass 40% to this new publisher even if he was NOT involved in the placement but I placed it…The publishing contract is worldwide, an absolute no go for me for NE.
Yes pulled from the cue sheet but my PRO will pass 40% to this new publisher even if he was NOT involved in the placement but I placed it
I guess I’m not understanding. If you placed it you would use your title that lists you as publisher. That’s they way I do it at BMI and have never had a problem in the 15 years I have been doing this.
I guess I’m not understanding
Yeah, doesn’t make sense to me either Art….
Gema tells me I have to add the retitled name to the original name thus making the retitler my sole publisher for this track with 2 titles and this publisher (won’t say who) wants worldwide publishing rights. Makes sense now?
Gema tells me I have to add the retitled name to the original name thus making the retitler my sole publisher for this track with 2 titles and this publisher (won’t say who) wants worldwide publishing rights. Makes sense now?
Ah, got it. Has to do with your PRO requirements. Don’t have that problem with BMI.
That is probably because BMI doesnt use fingerprint tracking? GEMA started last year.
That is probably because BMI doesnt use fingerprint tracking?
They do not for TV but they do for radio commercials and they use Numerator/Competitrack for TV commercials. I don’t know how Numerator tracks but lately my Numerator airings are very close to what Tunesat is detecting.
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