- June 7, 2012 at 8:27 am #5727Michael NickolasParticipant
I last posted about this on the JP forum just a day ago. I’m the Michael at the end of the topic “The FAQ does say “for a license fee”, not for free… ” I posted because a while back, Dan, the JP co-founder said they would not issue blanket licenses to Scripps networks anymore because they did not pay backend. Then I saw a JP user post that recently TuneSat picked up Scripps networks placements of his or her music.
I trust that Dan gave us truthful information, so one of these four scenarios must be happening:
JP is now paying sync fees to composers for these placements, like ScoreKeepers.
The Scripps Networks are now paying backend.
The JP artist was mistaken about his or her recent Scripps networks placements.
Scripps networks licensed the songs under the blanket before JP stopped issuing them.
As you say, no response from JP, but it has been taking awhile over there for responses to any question.
I personally cannot accept a placement that pays no sync fee or royalty as a cost of doing business. My music should not be on broadcast TV for zero in compensation to me. The library is getting paid, so why not me? My music has value, even if it is the lousy $1.50 in backend.
JP has a FAQ – “Is it possible that I will I ever receive no license money from a placement?” There are three reasons listed why:
1) any placements made under this will generate significant royalties
Not the case here.
2) placements made here will be beneficial for both you and Jingle Punks promotionally
A 14 second background placement buried under the dialog on a cable TV reality show is not good for me promotionally. Nobody really hears it or cares.
3) it will lead to paid placements by this client in the future.
In this case placements by this client in the future will also mean no sync fee or backend.
Again, I trust Dan’s at JP information. It’s probably not a big deal, just a misunderstanding. Seeing as you guys are seeing recent Scripps networks placements from JP, it must be that these were licensed before JP stopped issuing the blakent. Hopefully, JP will clear it up soon on their forum.July 25, 2012 at 2:46 pm #6106RoscoGuest
Just saw this today on their blog: http://www.jinglepunks.com/blog/2012/07/25/catch-best-of-the-road-with-music-by-jingle-punks-on-travel-channel-tonight/
Sometimes I just don’t get these guys and the info on Scripps. I thought the artist library was no longer going to be used as of like Jan or Feb 2012. I understand there is some overlap time because time of production but how long will it go on. I just cringe every time I see my music on Scripps shows.
Michael Nickolas: Did you ever hear back on your forum post about the Scripps “Red White and Grill? http://support.jinglepunks.com/jinglepunks/topics/the_faq_does_say_for_a_licence_fee_not_for_freeJuly 30, 2012 at 11:33 am #6131Michael NickolasParticipant
Nope, never got any response to that on the forum or via email. I posted a new topic today because I saw the blog post you are referring to. Stop by and make a post:July 31, 2012 at 8:48 am #6135Scott RossGuest
Maybe that’s what happened to one of my songs I heard on The Walking Dead t.v. show. One of the licensing companies gave it to them for free? I did contact several people at the production company, but never heard back from anyone so I have no idea where they got it from!July 31, 2012 at 9:12 am #6136MichaelLParticipant
” I did contact several people at the production company, but never heard back from anyone so I have no idea where they got it from!”
Ah… ye old catch 22. This is just one of the reasons some producers and libraries are moving away from re-titled music. To quote one library owner…”our clients got tired of composers calling them up, to ask them which library they got their music from.”July 31, 2012 at 1:52 pm #6142GusGuest
“our clients got tired of composers calling them up, to ask them which library they got their music from.”
I’ve heard this too. And it might be the reason why we’re seeing more libraries that use to be only non-exclusive either go full out exclusive or offer both for now until they’ve populated their catalog with enough exclusive titles to then move over to exclusive only.July 31, 2012 at 2:58 pm #6143wilx2Guest
So, wait, non-exclusive is now NOT the advisable way to go with one’s music? If that is the case, and you guys are certainly making a strong one, it is good that I only put 13 tracks up with JP. I will certainly stop there after reading this thread. Reassessing my whole plan, I might have to focus in on AS, where I just finished putting 30 up, check as many “exclusive” boxes as I can, and go from there… only putting up exclusives there from now on. does that sound right?July 31, 2012 at 5:22 pm #6144Art MunsonKeymaster
I’m still in the non-exclusive camp as my PRO money is almost all non-exclusive and grows each quarter. A good chunk of that is from Jingle Punks (and yes I see stuff on Scripps every day, sigh…).July 31, 2012 at 6:48 pm #6147MichaelLParticipant
@wilx2 JP and AS are vastly different libraries. They have different business models, and a mostly different client base. JP pitches music, or at the very least provides music to producers on hard-drives. AS, in it’s own words, is a “marketplace” where you sell your music. Unlike JP, it does not send music out, rather clients come to its site and search.
JP is all about broadcast, because that’s where publishing money comes from. AS, on the other hand is a royalty free library that derives its money mostly from sales. As with most RF libraries, it is very likely that their client base is generally non-broadcast users (there are always exceptions).
Depending upon what,and how, you write AS may not be the right fit. Before you sign away a lot of tracks exclusively, what kind of music do you write and where do you want it placed? If you’re hoping to get a lot of music onto big network television shows, you are likely to be disappointed and then blame AS. If you write in a genre that doesn’t sell well on AS (you can find out in their knowledge base), you’re likely to be disappointed.
The library business is not monolithic entity in which every library serves the same purpose, has the same goals, or has the same clients. Yet, many writers blindly pump music into the system without even thinking about where or how it might work.
When I get an assignment from a library, 9 times out of 10 its not “give us a rock track, or a hip hop track. etc” It’s give us a sports track, a news track, a nostalgic track. The description I get is the purpose for which the music will be used, not the musical style.
So…that’s a long-winded way of saying you have to match the purpose of your music to the libraries whose clients have the most need for your music.
@ Art…you write great broadcast friendly music, which explains your success with JP! If I listened to your catalog, I bet there would be very few cues in the corporate “wallpaper” niche, which a client of mine called “forward motion” music. I think that your success with JP is a great example of finding the right library for your tracks.
Note: RF is the model that I’m focused on (other than upfront exclusive) because I have a large catalog of mostly non-broadcast music that comes from corporate, educational and documentary work. With respect to the exclusives, I get assignments.July 31, 2012 at 7:52 pm #6150Art MunsonKeymaster
Wish I could get the ^@%#$ “Quote” thing to work!
Okay here goes.
Great post as usual MichaelL. I agree that generally AS and other RF libraries have a different client base than a JP type library. I do tend to throw everything at a library though.
“When I get an assignment from a library, 9 times out of 10 its not “give us a rock track, or a hip hop track. etc” It’s give us a sports track, a news track, a nostalgic track.”
The above is the thing that took a long time to get through my head. I do find by changing the description to point to a “use” instead of a genre it seems to be helping sales on RF sites. In fact AS seems to be adding those “use” type of “genres” more and more.
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