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  • in reply to: Subscription Models Must be Destroyed! #32210

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    Music1234
    Thanks for the open-minded analysis. As I mentioned, not everything is black and white though I share the concern that this model is part of the “race to the bottom”.

    It could be that on the right site with a very large number of tracks, this could be on leg of your overall income. I choose not to participate but to each his/her own. Also, I have a smaller catalog of vocal songs, not thousands of RF type instrumentals.

    There is a possibility, whether we like it or not, that with the growing demand for music for small budget video (youtube, etc), this model *could* take over the RF world. What if sites like P5 and AS find they can’t compete on a single fee per download and are forced to enter this model to survive? We’ve seen libraries share publishing with TV production companies because everyone else was doing it and they couldn’t compete otherwise. And as you know, no matter what deals WE refuse to sign, there will be thousands of hungry composers who will jump right in.

    We’ll have to keep watching what happens here.

    No rants. Just discussion. 🙂

    in reply to: Subscription Models Must be Destroyed! #32202

    Advice
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    Many contracts give libraries a lot of authority to sub out to other avenues. In this case, it was very much allowed. My fault for not reading it more carefully. I’ve signed so many non-exclusives that I’ve gotten into the habit of looking mainly to see the split, if it’s non-exc, and can be terminated (not in perpetuity).

    I raised the subject, not to blast the library, but to ask if there ever can be positives to being in a subscription model library. We tend to be black and white about these things. That doesn’t mean *I* thing these are good, just asking.

    I can identify the library later on.

    in reply to: Subscription Models Must be Destroyed! #32197

    Advice
    Participant

    Hi Art
    For now, I intentionally left the library name out. I wanted to ask the general question.

    Best

    in reply to: Subscription Models Must be Destroyed! #32194

    Advice
    Participant

    Question. Can this model ever be good for a composer? e.g. If the fees are big enough such that what you get per song sale is “real” money?

    Getting my first taste of this. I found out that one of my libraries put my songs on a subscription site. In this case, the subscription fees are way too low for the artists to make real money unless they have thousands of tracks. From $8/month for 5 songs per month to $29/month unlimited. I think you have to sign up per year which makes the range $96 to $348 per year. If someone signed up for the cheapest plan and bought my song, what percentage of that $96 would be mine? And if the songs were put there as a sub to another publisher, their split would have to be figured in. I can’t imagine there would be much left for me per sale.

    Music1234, I know what your reply would be, LOL 😀 Other comments?


    Advice
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    Absolutely not! And it would be a violation of your exclusive contract so nope, not legal.


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    in reply to: Why different audio formats? #31988

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    To weed out the weak, thin the herd. 😛


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    in reply to: How to register a work when writers belong to different PROs #31340

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    It is fine to also register the track with ASCAP. Just make sure that you provide the exact same info in your registration (composers, publishers, splits) as your BMI writer did with theirs. In fact, one library I work with now insists on registration with PROs from each co-writer who has a different PRO.

    in reply to: PRO retitling – what’s going on here then? #31339

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    Participant

    Not sure I understand your post since you mention “mechanicals” with respect to PRO. PROs don’t handle mechanicals, only public performances (radio, TV, stage, etc.). At least, that’s how it is in the US, not sure if it’s different in other countries. Please clarify to help us better answer. Thanks.

    in reply to: ASCAP international reports/payments #31236

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    Participant

    Yes, often the information we get on international payments is lacking the details we get from domestic. Some country’s PROs are better/worse than others.

    in reply to: Series number changes but new series don't appear? #30812

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    Participant

    It could be you’re missing something on a visual scan. But also, I’ve seen ASCAP make adjustments to the numbers now and then, sometimes temporary. sometimes permanent. I’ve always found things a little flaky since they went to the new website.

    One thing I’ve done now and then is painstakingly expand every one (the + sign) and copy/paste the whole thing into a document to have my own record of everything on a given date. But it’s a pain.


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Viewing 15 posts - 1 through 15 (of 372 total)