- This topic has 0 replies, 1 voice, and was last updated 2 weeks, 1 day ago by Omer – Spacey.
- November 6, 2019 at 10:27 am #33593Omer – SpaceyGuest
I new here so be patient with me, this is my first post 🙂
I’m not that newbie into the bizz, producing, composing and performing for a decade,
But I ran into an international case, this area is a bit new to me, and I want to consult with the masters here
So last month I Singed a Sync contract with one of my tracks for use in HBO Spain Series that will be broadcast next month.
the deal I’m talking about here is a Non Exclusive license.
I double-checked with them that they have the necessary connections with the europian P.R.O.s to report on the usage.
They said that they have and they will even send me the cue sheets when the series will start rolling so i can track the usages.
so now, I’m trying to understand what types of royalties I deserve and how to collect them
I’m the composer of the musical piece, the performer and player, the mixer and recorder, and the master owner.
So we are talking on – Composition Royalties, neighboring rights, and master rights I guess (did I missed something?).
I did a little research and the following names where stick up:
I know about BMI / ASCAP but I prefer to register on European organizations, I want to be near the task range
what pros are recommended in Europe?
what PROs are you registered to?
is there any difference? or it don’t really matter?
What exactly are Harry Fox / Sound Exchange,
and what else should I need to register for collecting the royalties I deserve?
I registered to Tunesat as recommended on MLR cookbook and uploaded the relevant files, and I’ll have the cue sheets, so I can detect the usage.
Thank you in advance,
happy to join the forums,
Share your wisdom and I’ll happy to share and answer on other topics that I’m more strong and experienced with