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Yeah…unfortunately, like the other guys mentioned I also view this as somewhat normal now to just get backend on many placements.
This should probably go under it’s own page for the library mentioned but I couldn’t find one. Not sure if it is the same contract these days but I was interested in working with these guys awhile back because of their placements on cable shows. Things are worded very weird that I had never seen before or since. Still have it saved and checking it out now so I don’t mix anything up. Mainly the part about transferring 100% copyright in perpetuity under new titles (re-titled) non-exclusively. Not saying they are sketchy but I ran the other way instantly. Just a heads up to anyone if the contract is still the same.
I’d like to take a moment to give ‘advice’ to ‘More Advice’ based on his own ‘advice’ when advising others on another post. Haha. I’m with you and agree with some of your points but just remember that regardless if people raise their prices or not, take your own ‘advice’ and possibly a little ‘more’…..”the sun will rise tomorrow”. 🙂
I have to tell you, I do some really crazy stuff with my earnings………I save the majority of it. Haha
Even if writing/producing is my biggest passion and I enjoy doing it, work is work for me. That is time taken away from spending with family, girlfriend, friends, etc. But then again I have never been a guy to go blow my money just because I have it.
Is this the same adam with the Pond5 problem and the recent $350 JP payout?
Whether you are planning to submit exclusively or not in the future based off if you care about upfront exclusive library money or not, this is a huge point to consider: They mention in the email that they will send an amendment to the existing Non-Exclusive contract. They better change the following before any composer even considers (at least I hope) signing over exclusive tracks to them.
“Nothing contained in this Agreement shall be deemed to constitute a waiver of any fee which shall become due and payable to the relevant performing or other rights society, such as ASCAP, BMI, SESAC, or collection agency, as the result of any use of a Composition or Master by a User, unless Jingle Punks shall have issued a direct license with respect to certain of the public performance rights in any Licensed Song and related Master.”
Direct licenses benefit nobody but them. Like some of you, there is no telling how many performance royalties we have missed because of all the stuff that their clients have used on Scripps channels or ESPN…..it’s a ridiculous amount for me. They collect the fee and share none to the writers when their music is used. It’s a bunch of bullcrap and can’t continue if I stick around. They originally said in early 2012 and keep saying “no more Scripps” or direct licenses yet I had a recent track that I uploaded to them show up on a show that I will never see compensation for. Sometimes I feel like they have no idea who or where the music is being used or just don’t care if it is on Scripps or ESPN as long as they get their blanket or direct license money. 100% sure it was through them and uploaded very recently.
I am guessing the 25,000 track exclusive library wasn’t an overnight thing and I believe it wasn’t a buyout of another library since they have had many staff composers for quite some time. All of these direct licenses of my music tell me a few things: 1) My music is better and more usable than any of their exclusive stuff or 2) that they know it is a crappy placement with no compensation so they pitch other artists music from “the JP artist library” instead of their own. Everybody knows that any libraries’ employees, if they are composers/artists, will get the majority of the coveted placements. Just look at any cue sheet that JP has gotten you and you will know what I am talking about. Common name or two show up? I see it all of the time.
In my opinion, nothing will degrade or de-value our music licensing industry more in this market than signing exclusively if there is a slight chance of direct licensing. Maybe we can get into a discussion of all of the JP cable promo placements next (outside of the nice one Art had that included compensation). Haha. That also needs to change for their exclusive model, in my opinion.
If anybody at JP reads this, please get better at responding to the forum and to emails. I know that a lot of these old important artists who helped get the library to where it’s at (as ‘Sad About JP’ said above) are noticing. Don’t hire a new composer for the exclusive library, but rather somebody to deal with the artists like EJ used to.
I was wondering the same exact thing and right when I read your post, an email from JP came through talking about the exclusive library and details on getting into it. Haha. At least some communication now.