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jimandroz:
What if I get signed exclusively for a track that I submit andhave this track in another library.Do I retrieve the track so that it is now in the one exclusive library only.
Depends on the deal with the non-exclusive. You might find you can’t get it released until a couple of years down the road.
The below was posted by Gael MacGregor but a glitch prevented it from showing in the forum.
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If you’re a BMI writer, you don’t necessarily need a publishing entity — on cue sheets, into the writer area, you just put in your writer name as usual [exactly as noted in your BMI registration], then in the publisher area, put in your writer name, and in parentheses after that, make the note: (author published). You will then receive a check (or possibly two — or even a direct deposit to your checking account — depending on the amount[s] and how you’ve set up your account) for the writer’s side and the publishing side.Cue Sheet Example:
Writer: Faboo Writer [BMI/100%]
Publisher: Faboo Writer [BMI/100%] (author published)With ASCAP, however, you need to create a publishing entity to receive money from both sides. They do not allow for the (author published) notation, and will withhold publisher payment until you have a publishing entity.
Cue Sheet Example for ASCAP:
Writer: Faboo Writer (ASCAP/100%)
Publisher: Faboo Publisher (ASCAP/100%)I think it currently costs about $35 to register a publishing entity with ASCAP. When I registered my publishing entity with BMI it was free, but it is considerably more now (around $300) — from what some reps there told me, mostly because they were flooded with so many garage band type writer/publishers who never even registered ONE song (!), and the admin costs for maintaining such a huge number of virtually inactive entities was becoming ridiculous. I suppose their reasoning was that if you were willing to fork out a few hundred bucks, you were serious about what you were doing. 😉
J3h43f4:
Do you have a publishing company Art?Is it difficult?It seems it would be easy to register your own tracks when they are used.Then you get the publishing half as well.
I let Audiosparx and everyone else do it when there is a space to put your own publishing company but I do want to do it myself to get the other half…is it difficult?
Yes I do have a publishing company. Not hard at all. I didn’t know that about direct deposit not needing a DBA but I would check with your bank to make sure.
Not necessarily but if you get checks made out to your publishing company you will need a checking account in the publishing company’s name and that requires a DBA (doing business as).
J3h43f4:
And I was wondering if any of you use something where you can upload all your non-exclusive tracks into “the cloud” or something where you can just transfer the files from where you uploaded it to your non-exclusive libraries, without uploading from your computer every time.
There use to be a site called ISYNDICA where you could upload your files once and then transfer to various libraries. Great idea but went out of business. I have all my files on Amazon S3 servers and it would be great to transfer from there to a library. I’m sure it can be done but never investigated it.
Hey Pat (the other Pat) just saw this post but I e-mailed you a couple of days ago and see you have created an account now. Any problems please use the contact form.
I like some of the Voxengo stuff, some freebies there also.
woodsdenis:
Hi ArtCant create a topic in the Software part of the forum
Oops, my bad, fixed now.
The below is from Abby North that was posted to the wrong section.
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I’ve been thinking about this post for a while, and figured I’d add my two cents. I own a music library (SSPMC), and I also do music supervision, mainly for networks that most of the production libraries have blanket deals with.It’s incredibly easy to make a mistake with a cue. So many are submitted both to my library, and to be considered for shows I’m working on. As I import submissions into iTunes, I always try to put a prefix on the file, indicating the source and whether or not it’s clear, but I’m human, and therefore fallible.
I also try to delete every cue I’m not adding to my library, but again, it’s so easy to make a mistake in managing tens of thousands of cues.
If you have submitted a cue to a library that inadvertently got it into a show, I think the most effective plan would be to alert the library that your cue was submitted by them to a given show, and let them do a non-exclusive deal with you for that one show.
I highly doubt anyone intentionally used a cue without having a license to do so.
jimandroz:
What is a reversion clause?
Thanks!
Roz
Any rights you sign away in a contract revert back to you after a specific time or if certain criteria isn’t met (as an example, an income threshold or placements).
gdomeier:
I won’t die if you have they have to be on
Who needs pretty pictures, LOL!
gdomeier:
Art, all posts have a square image by the name of the user that started the topic.Most of them are blank, and the ones that do display (such as yours) are the MLR Report one.Any chance of not displaying them?
The only easy way to do this is to turn off “avatars” on the whole site. Not a bad thing and probably makes the site a bit faster. I’m sure someone will now want the “avatars” turned back on! 🙂
Robert Safir over at Linkedin left this answer: “Art, if you use ASCAP’s Quick Form, you simply need to add the publisher’s share (50%), and not state the territory. I haven’t used the long form for this, but I imagine you’d want to put US, Canada, and World.”
Depends on the library. A higher end library might do it but generally the composer would.
jimandroz:
Thanks Art! This is very helpful.How long does it take to start seeing sales like the ones in the article,if you’re good.
RozP.S.Do you know the best World Fusion libraries?
There is no way to know that and “good” is a relative term.
Not to be evasive but what works best for one composer, and a library, could/would be different for another. It’s all about a lot of cues with patience and persistence, spread around a number of libraries. You really need a few hundred and be at it for a few years. Probably best with 1000 to 1500 tracks (I’m at about 400 and been at it about 6 years). There are a lot of variables so YMMV.
Don’t know anything about World Fusion libraries but I’m sure someone will post here.