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FYI, I’ve had placements on shows where one composer is listed and no libraries are credited.
I use Sony 7506 and Grado SR80 (open backed) for checking my mixes.
As most of us know, the Sonys are very “bright and crisp.” I use those to make sure my high end to not too heavy. I feel if it sounds a little too bright on Sony headphones, I need to tame the high end.
The Grado headphones are very nice to listen to, and are a great reference in my opinion. Unfortunately, they are very uncomfortable. I can’t wear them for more than 10 minutes or so.I also use a set of Beyerdynamic DT 770 PRO headphones at my life FOH gig. I love those. I have to send my live house mix out for a broadcast mix so I am constantly checking my mix in the headphones. The are very comfortable and very accurate.
Ha,
My main source of income is as a live sound engineer. I’ve been trying to supplement that income as a composer. Freakin’ genius!
🙂Me too, I contacted them and here was the reply:
“ASCAP had a data transfer over the weekend, which included the transfer of cue sheet data. This process has not been completed as of yet, but should be by week’s end. Have no fear. Your cue sheets have not been lost.”I’ve been at this for a couple of years now and am shocked at the number of errors I see on my tiny PRO statements. This seems like a good string to mention it. I took note of it when I had hit the 50 placement milestone a year or so ago. Of those first 50 placements, there were 9 incorrectly credited publishers and one cue was not in the show I was credited for (I listened for it, it was not there). That’s nearly a 20% failure rate (that I know of)!
Since Tunesat is not an option for me yet, I can only sigh and hope I’m not losing too much $$ from all these errors.
Here is another vote for contact them. I have a feeling I know which library it is.
I had something similar happen. I submitted a couple of non-exclusive tracks to a call for genre “X” and never heard back after several months, so I assumed I was rejected. I was surprised by the rejection so I went searching that genre to see what they had. I found my tracks in there and they were retitled.
I was all spun up about it and contacted them. It turns out they had accepted the track and simply forgot to send the schedule (or it went to spam). They apologized because and assured me the track was assigned to me the whole time. We are all human.I think you should contact them immediately to avoid them licensing it under the premise of being exclusive when you have it elsewhere.
As far as the re-titling of exclusive tracks. It has happened to me too. Maybe they already had that title, did you check? Or maybe it was too long, or they felt a different title would generate more interest. I consider them the experts in that respect.
I thought I should share this:
In May 2013 I submitted to a FMN Job listing. A month later I got an email from a video producer saying my track would likely be used, but the “client moves slowly.”
I had forgotten about it, then in September I got an email saying the “video was complete, please send me a contract and invoice.”
I got the check a week later. Only $150, but it was nice not splitting it with a library.
For me, FMN is legit.Great thread!
I have had a big drop in NE placements this year after two years of steady gains with a popular library (J) that is now pushing Exclusive only. My placements seem to have peaked in Dec 2012. New cue sheets have dropped to a trickle.
18 months ago I started with another popular NE library (S). They too began pushing exclusive in mid 2012.
I decided to raise my level of risk and submitted most of my new stuff exclusively to them for a few months. So far nothing to show for my risk.
This year I went back to NE with a smattering of E as I continue to test the waters.
I also added a few new RF sites this months.
For me it’s still too early to tellASCAP vs. BMI Advice needed
Hey all, I’m about to start a co-writing partnership. I’m ASCAP. which should he join? One better for library writers?
Thanks
My tracks formerly know as retired now show a status of “approved” in my cue list, but do not appear in my profile. I am waiting patiently to learn if my removed and formerly “retired” tracks are released from the JP agreement. I don’t thing the folks at JP know the answer to that.
I’m also considering a perpetual non-exclusive deal for a few tracks. I’m leaning towards More Advice’s line of thinking. My stuff is spread around several non-exclusives. I don’t see myself removing anything and I REALLY don’t expect someone to offer me an exclusive deal with big (or any) up front money.
That being said, I can not think of another reason to not sign off a non-exclusive track in perpetuity.
Anyone else have an opinion either way?
My last post made me wonder, so I looked it up. The $111 was from 15 primetime airings of a single episode.
From ASCAP
“# Plays: The number of times in each Day Part that a film, television program or episode, or a commercial, promotional or public service announcement has
been processed for royalty distribution.”I just had a fat couple of fat single placements on my January ASCAP statement. 44 seconds of a JP tune on Bravo at primetime paid out $111.77 Note the #of plays column said 15, But I’m not sure what that means.
The series was Don’t Be Tardy For The Wedding (never hoid of it). The same episode outside of primetime paid $11, $14 and $18, quite a change huh?
