That's It

[B Minus]

Sorry for the rant in advance but I just give up. PRS is completely hopeless. I am repeatedly told one thing on the phone, then when I email to get it done I get told it’s not possible. My registrations were screwed up by my publisher, now PRS won’t change them unless they hear from them, and the publisher is useless at doing anything.

So I give up. You win, whoever or whatever you are, you win. It’s times like this I feel like just ceasing all contact with these companies, making music offline and then sending it once a month to libraries and not bothering to read anything they send me, since it’s all a complete waste of time, stressful and unpleasant anyway. At least that way when I miss out on royalties I won’t even know about it. Because knowing about it is futile, since all I do is expend effort pointlessly and painfully trying to get it fixed – to no avail.

And in reply to the guy in the other thread saying be patient with these libraries they’re musicians too blah blah – no, they’re not musicians. This is a multinational company with hundreds of employees. The absolute LEAST they could do is get things right. I’ve kept my end of the bargain. And even if they were musicians – so what??? You actually think that’s an excuse to be unprofessional?

[Desire_Inspires]

Forget what happened. Focus on what you can do to make things better now. The music library world is strange. But there is money to be made. Focus on the companies that can help to make you money and leave the other companies alone. There is no need to give up. That will only guarantee failure.

Like the old saying goes: Do what you love, but always follow the money.

[B Minus]

Thank you. I really needed to vent to people in the same industry. It’s just so frustrating when these things happen.

I guess I meant give up as in give up trying to correct everything and chase royalties, and instead just make more music and accept that the rest is lost.

[Del Smyth]

 

You just come across as a bit of a prima donna tbh and this is an industry definitely not suited to such a mentality. Get a grip and get on with it. You sound like yet another composer who thinks companies only have the time to deal with their problems.

Maybe you give off negative vibes and that’s why no one is rushing to help? Like your post above really says mr. negative and people pick up on that and makes them less amenable to helping. Have you been sending snotty, dismissive emails?  That could be a reason.

PRS just sorted out a complicated problem for me in a week. I put it to them in a very friendly, professional manner but I also copied in the publisher. Any publisher enquiries I make are dealt with in a timely manner. If they aren’t, I assume they are busy rather than it’s something personal.

 

 

 

 

[euca]

@Del Smyth Why don’t you use some of that so called professionalism here? I don’t think name calling is the way to go, or calling someones music bad or telling every composer on this forum to hire real musicians and making them try to feel bad for using the tools that are available.

If anyone is a prima donna and gives off a negative vibe it is you.

[B Minus]

It’s ok, I don’t read Del Smyth’s posts. From a long time ago I noticed he/she is just a troll. Every forum has one (or perhaps multiple) so I’m used to it. It’s certainly pointless replying to them as that’s what they feed off.

I’d guess he/she has never made anything in the business and has resorted to this as a way of letting out their disappointment.

[Art Munson]

@Del Smyth: You need to cool it a bit. It’s okay to disagree but do so in a civilized manner. We are all here to support each other not tear each other down.

I have banned people from MLR before and will not hesitate to do so again.

[56 Strat]

B Minus ….. I feel your pain and frustration and understand where you’re coming from. I have quite a few tracks that were licensed for full broadcast over the last 3 to 4 years but havn’t received a single penny yet, nothing, zilch ! A couple are now registered on the ASCAP data base so maybe in time I’ll see something there , but all the others ? hopeless it seems, and it certainly wasn’t a screw up on my end of things. Yeah , it’s frustrating to come on here and read about everyone commenting on their latest PRO payment and I sit there without a penny to claim, LOL ! Then again, there may be some factors involved that I’m not aware of as I’m still quite new to the market compared to some on here. But it just seems odd !

[B Minus]

I remember Del Smyth insulting someone terribly on some other thread, after that I stopped reading his/her posts.

ArtistsR1st: That is really sad to hear. Do you have cue sheets or info? Could you call ASCAP with that to push them into doing something?

I think that I am going to continue working only with the companies that treat me well – even if those who treat me badly sometimes get a decent payout, I can’t take the stress that comes with it. I am doing my best to become better at managing it, but it’s not going well, as my first post demonstrates haha

[56 Strat]

Hi B minus. I did inquire on some of it but always got the same answers from both sides ” if they don’t don’t that we can’t do that ” ,catch 22 … blah blah blah !  Just on two sites alone I have 16 tracks licensed for full broadcast, that’s not counting the others which will be even more than those in the end, mind you, I’m sure some of them were not used in the end anyway but I’m certain that not all of them received the same fate. It’s a case of relying on other people to file the cue sheets which they are suppose too. I’m going to make a final tally once again later tonight with all my tracks licensed this past 4 years for full broadcast as I too gave up hope of seeing anything. I have some on MTV that I inquired about with the agent that placed it or them , he said he would inquire about it but he never did get back to me on that, that was quite a while ago. it’s been less than a year for the MTV thing so I might see something yet ……. yeah, but the silence on it !!!

[Desire_Inspires]

This forum is a great place to read up on libraries. I will not suggest any, but there are a few great companies, some good companies, and a lot of mediocre to non-productive companies. It does take serious work to find out which companies may work. But oncthou can get in with the great or good companies, stick with them

[B Minus]

I was lucky and managed to get in with a great library at the beginning of my career, they have consistently sent license splits my way for years. The backend is yet to ‘blossom’ from that but I am very happy with them overall. I thought the latest library would be excellent, and to be honest they might still be as I haven’t given them enough of a chance yet. I am just frustrated by how difficult it is to get overseas royalties, and also to get things done correctly.

I’m constantly amazed at how many composers I see with track data incorrectly registered – sometimes I tell them and they still don’t seem to mind that much. A much calmer lifestyle I guess.

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