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For those of you who don’t know, Michael and I are so old we don’t even buy green bananas anymore! 😛 😀
Cable is in big trouble…. Ratings are way down. More and more young people are using Netflix, streaming, etc. As the audience size decreases, so does the money and that can put a lot of businesses out of business.
It may turn out to be like telephone land lines. Young people come out of college today, get their first house or apartment, and never bother with a land line. What for? Technology changes make things flip in a generation.
Being an old fart, I still prefer to sit on the couch with the remote and flip cable channels. But old farts don’t live forever, LOL…
🙂
“Fighting back” is a bit strong as if it’s a crusade. All we can do is say no to deals that don’t seem reasonable to us.
Minkus
Glad you were able to confirm what the deal was and Rob is a good guy! 🙂Sorry I misinterpreted your first post as to what the split was, saying it was standard or typical, which it is not.
As you are already doing… Just say “no”…
Best
“People post contracts all the time on the internet in job forums and dare I say it music forums. Sound on Sound for example – obviously with the details removed. It is good to get informed advice from people in the know.”
People do a lot of things. That doesn’t make it right or the best thing to do. People also rant at publishers and libraries on public forums using their real names. That does not make it advisable professional behavior IMHO. I wouldn’t be surprised if someone did post a contract here, if Art would remove it. I don’t think he’d want the liability or just plain hassle.
“Advice’s advice to not post the contract so that the original poster cannot get advice is a bit puerile.”
So I guess you would have no problem if someone else posted your song or lyrics on a public forum without your permission. In a former life I was a music publisher. I spent money having an excellent entertainment attorney develop my contract. Whenever I presented the contract, I always let that person know they were very welcome to review it with their attorney before signing. However, if I had found that they posted my contract on a public forum without my permission, I would have asked them to take it down and possibly even refuse to work with them. As musicians who want OUR intellectual property (e.g. copyrights) protected, we should have just as much respect for other’s I.P.
“100% of sync fee is not standard and if offered that I would tell them where to stick it and run a mile.”
As I wrote it my post, it wasn’t clear to me that 100% sync truly was the deal. Minkus has since provided some more info on that.
PS Len… Thank you for helping me learn a new word today!! Puerile! 😉 Always great to get a chance to expand one’s vocabulary.
DI = Desire_Inspires
In case you didn’t know this other frequently used acronym here… 😛 😛 😛 😉
I’m not a big fan of the star ratings. They are highly skewed by factors such as how easy it is to submit, how hard it is to get a track accepted, how friendly the contact is, etc. and those factors may or may not be the most important to a given person. (Not saying they are trivial).
Of much more value is to filter by category such as exclusive vs. non-exclusive, RF or not, etc. That will help you narrow down your list and begin your research.
Different libraries serve different markets. For example, Crucial Music is non-exclusive but generally caters to a higher client base and gets sync fees. Other non-exclusive libraries primarily pitch background cues for cable reality TV shows with backend only money. And then the RF market is totally different. A rating without an understanding of the market the library serves doesn’t tell you enough.
Good luck!
We have to first make sure we have our terms defined… What does a % of copyright mean? It’s used different ways by different people.
I have a feeling (can’t be sure) that this deal is one where they split the Publisher’s share with you and you keep your Writer’s share (as you should). That would give you 75% of any income, compared with their 25%. Not the MOST common deal but a typical split publishing deal. And it’s better than the more “standard” deal where all income is split 50/50.
I read awhile back that ASCAP does not accept Tunesat detections as proof for royalties due. If that’s true, you might have to contact the library that made the placement to see about the cue sheets. Of course, if you have the same tracks in multiple non-exclusive libraries (as I do), you probably wouldn’t know which library to contact. A mass email to multiple libraries asking if they placed your track isn’t always appreciated.
It might be that ransom virus. You either pay up or you don’t get your cue sheets back! 😉
Seriously, it’s as euca said, just site maintenance. If they don’t reappear within a few days, then maybe contact them. But I suspect you’ll wake up the next day and *poof* they’ll be back.
🙂
“Your plumber is making more money in a few hours than most library composers will make in a few months!”
I know!! Nobody talks about “composer’s crack” the way they talk about “plumber’s crack”… I mean composers lean over at their studio computers all day with their butt cracks sticking out of their pants… 😉 😛
Trying to unsubscribe… 😀
I have one cue sheet and did get paid on truTV South Beach Tow for airing during 2Q14… Pennies but I got paid.
HTH
Also, it probably is a good idea for Windows users to keep current with all Windows updates. Microsoft is constantly releasing updates to fill security holes (once they created in the first place, LOL!)
Art wrote:
The best backup is to ensure you have a clean system, back up to an external drive and REMOVE the drive from your system. Another option would be a backup service (I use Acronis) that uses versioning in the cloud. That way you could go back to a previous version if an encrypted file was backed up. I do both.
Great advice. I do a backup to an external about once a week and disconnect right afterwards. I also have cloud backups to Carbonite. They tell me they do versioning so theoretically you can recover your files.