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Just followed everybody in this thread (looking forward to going back and listening more to everyone’s music!). I’ve only put a handful of things up on Spotify the last few years but it has been on my list to get more active on there. Actually have been more motivated to do that after AS started circulating some random (old!) tracks of mine on there.
At any rate, here’s me: https://open.spotify.com/artist/5TXlmphHFrOeHKSUjrmqqU?si=kJ2_H7HhQUqNq6xb6inteQ
Agreed that it would be cool to put together some playlists. Art, maybe this should be something with an MLR logo? Curating the playlists is easy enough once you have a collection of artist profiles/tracks to choose from. One way to do it on the forum might be to start a thread, for example, MLR <catchy title> latin music (Spotify Playlist Submission). Folks could drop in the tracks they would like to add and the curator could add them. Of course, at some point you would have to get into quality control…anyway, just my 2 cents!
You beat me to it MichaelL! I just posted a link to this article. Totally agree — who knows how long it will take.
Feel free to delete the other thread Art!
Hey Chuck —
I’ve used a bunch of their funk/indie drums. Top notch stuff as far as loops go. I keep an eye on the 50%+ off deals and grab things here and there.
Great to have in the arsenal when you need it!
In my opinion, television composers are going to experience the same kind of royalty devaluation that songwriters have with with the transition from radio to services like spotify and pandora.
Totally agree. Though, so many have us have already experienced this huge slump — is there no bottom!?
I’d really like to see a new kind of PRO evolve with REAL transparency and run by efficient, state of the art, tech. If the PROs are going to sustain any of us long term, there is no excuse for them not being at the forefront of the industry, shifting with new trends as they arise, similar to how tech companies compete everyday. Without that type of swift adaptation, eventually, each org will just be left scraping for pennies. It’s all so frustrating.
Ok — back to writing. Take it out on your cues! Looks like today will be a dark, moody, apocalyptic day 🙂 – B
Unfortunately Kubed, it’s not speculation on my part. This is what I was told directly by BMI’s Director of Distribution in Nashville.
Linking royalties levels to a shows Nielson ratings is their new procedure, going forward.
Ugh — this is terrible MichaelL. I had a similar drop with ASCAP last year with a syndicated show, which is what led me to start my SESAC transition. Sure, things may change at SESAC as well but at least with a smaller pool of writers, I am hoping they do more to take care of their own. Could be a total crapshoot but feels like the right move (for me) now.
With broadcast TV on it’s way out the door, this is a scary time for writers. The PROS really need to get of their asses and start figuring out what the future is going to look like for all of us. I know they were pushing Congress last year but this is really something that needs to be attacked on multiple fronts. A petition might be a good way to start, Art!
Happy Holidays All!! 🙂
Tendered my termination to ASCAP and will hopefully move to SESAC or BMI, if that does not work out. Leaving old catalog at ASCAP. Thanks MLR, for the help and info. Looking forward to better days.
Good luck MM!! 🙂
Just a heads-up.
Thanks MichaelL. I read that over the weekend! Any thoughts on what you think this could mean for SESAC moving forward…? I still feel like they have a leg up but this case has me questioning how that will translate down the road.
What would you do with music that you own but has been re-titled? Come up with new names and register them with the new PRO, to potentially give them to new non-exclusive libraries / projects? Is this ok?
That’s an interesting question, Mark. Early on I chose to go the exclusive route, so I haven’t dealt with a ton of NE retitled cues. I guess, right out of the gate, I would think that if ASCAP is representing a “work” even though the title can change, this would mean that “work,” in whatever form it exists, is subject to ASCAP’s agreement and can’t be rep’d by another PRO. I’m no expert on that, though…just my initial thoughts.
I agree with MichaelL that the fingerprinting would also present a major headache if they did allow that.
Hey Bradymusico. Best of luck with your move, is there a reason why you have left your current catalog with ASCAP ? Thanks
I’m sure Bradymusico will fill you in on his experience, but here’s a recap of what I advised him, to which he refers to above.
MichaelL said it all (thank you, sir!). 🙂 Even though my catalog is smaller compared to others here (500+ titles), it was enough of a hassle given the WFH and other pubs I’ve worked with. Though I am a bit bummed to leave some of the good money cues at ASCAP where I just “hope for the best” on the surveys, I guess that’s incentive to write better cues and have them at SESAC! – B