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  • in reply to: New ascap website #26257
    Blind
    Participant

    It seems like the best long term solution would be to add a date range in the search filter. That would even be easier than the old way of looking through all of the episode totals. That’s what I emailed and asked for.

    in reply to: cue totals missing from ascap? #25623
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    Participant

    Yeah, they are back up. Some of the numbers/counts are wrong, but they are there at least and I’m sure they will get that sorted out too.

    in reply to: RF sales down? #23456
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    Participant

    Just like how this business is not the same as it was five years ago, it also won’t be the same just a few years from now. It will be worse in ways that we can easily predict, and in ways that we can’t imagine yet.

    in reply to: Cue Sheet Success Stories #22115
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    Participant

    yzzman1, I’m curious, how much does ASCAP pay on say a :30 placement on Comedians in Cars?

    Blind
    Participant

    It had actually dropped from $7.70 same time 2013 to $7.50 in 2014, so it’s really a net increase of only $0.25 since 2013, not $0.45, just for the record. Good that it went up rather than down, of course…

    in reply to: Does Crackle pay royalties? #21439
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    Participant

    Hey yzzman1, did your “Comedians…” placements show up on cue sheets in your ASCAP account, or did you find out about them another way?

    in reply to: NBC St Patrick's Day Parade Cue #20805
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    Participant

    I would be curious to see the payout too. The bummer is that those things only air once. I had a cue play in the summer olympics on NBC for a half minute and only got $50, and it won’t re-run, so that’s it!

    in reply to: How often? How many? #19342
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    Participant

    Flooding of the market. Simple as that. Unfortunately, you won’t be able to keep up no matter how often or how much you upload, I’m afraid.

    in reply to: Chasing PRO Money, RF Sale and Tunesat Detection #18914
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    Participant

    Not exactly true. ASCAP uses Competitrack data and requires a Comp# when submitting ad usage to them. Not to defend ASCAP too much, but the ad usage always seems pretty detailed and accurate on my statements, which is surely due to the use of the Competitrack info.

    in reply to: Batch creating audio watermarked preview files. #18822
    Blind
    Participant

    I downloaded the Mac version it to check it out, but it crashes every time I try to launch it… Anyone else have that happen?

    in reply to: Can anyone comment on Soundreef? #17412
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    Participant

    Whoa, that’s pretty lame. How many tracks do you have with them and for how long?

    in reply to: Can anyone comment on Soundreef? #17406
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    Participant

    Everything sure went quiet after this became a subscriber-only thread, as I think Art suspected would happen. Anyone have more feedback/experience?

    in reply to: Have I Been Cheated Out Of Money?!? #17070
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    Participant

    I agree with Kiwi.

    On the subject of reruns, I keep detailed records of all of my income/placements/etc, and I did some math a few weeks ago and realized that after 5 years and almost 800+ placements in TV, the income has not continued to go up like I thought it would when I was starting out. It rose for the first couple of years (as you would expect when starting from zero), but then leveled off, and has even decreased. Basically, even though you might think that the reruns would keep adding up, for every show that re-runs, there are five that drop off the list. In other words, don’t let anyone tell you that the back end royalties endlessly pile up.

    in reply to: If You Didn't Already know #16662
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    Participant

    DI, as crazy as it sounds it can often take well over 20 years for decent money to be made on music (not necessarily production music, but all music, and all music would of course be affected by a copyright term change). I have experienced that personally this past year. Sometimes music isn’t discovered until many generations after it’s written and recorded. Older musicians can be lifted out of poverty by a younger artist covering their songs (only if they still own the copyright).

    I still can’t figure out what your logic is for wanting less from your music though… Saying something like “music just moves so quickly today” basically means nothing, either within this context or out of it.

    in reply to: If You Didn't Already know #16650
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    Participant

    DI, I’m not sure I understand how “speed of composition today” relates to copyright term. I think I maybe get what you saying in regards to not needing studios, musicians, etc and taking less time (theoretically), but artists in the 50s and 60s were routinely knocking out whole records in a day or two, so I could easily make the argument that people now spend MORE time than ever because they aren’t reined in by expensive studio time and have so much more to fiddle with on their computer than a guy with just an acoustic guitar did 50 years ago. The tweaking goes on almost endlessly now…

    Assuming though that it is faster in “today’s world,” using a few days or weeks savings in the songwriting/recording process to justify a subtraction of 50 years from the copyright term is not any kind of logic that I can follow. You’ll have to give me a different argument.

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