composer

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  • in reply to: ASCAP and their inadequate survey system #29498
    composer
    Participant

    With BMI I now get this garbage when I click on “works catalog”.

    “This catalog is too large to display. Please enter your search criteria.”

    Oddly enough, you can still see your entire catalog without logging in to your account by using the “search BMI repertoire” function and entering your name as songwriter/composer.

    in reply to: A Hypothetical Numbers Game Question #29331
    composer
    Participant

    My guess is not for while. Cause I believe there is a long arc on a lot of this. Like stacking up episodes that recur. That takes a while and if the hypothetical composer waits and slams the 1000 tunes up it will still take some time for the episodes to accumulate. I know sometimes tunes just sit there for years before being picked for something. … it seems better to me to go ahead an get the tunes working as soon as possible.

    This is consistent with my experience. Some tracks are unused for 3 or 4 years, then used often.
    Or, another way of looking at it: Tracks I produced/signed in 2013/2014 outearned tracks I produced/signed in 2015/2016 on my most recent PRO statement.

    in reply to: Tunesat Value/Effectiveness Changing? #27197
    composer
    Participant

    I’ve had a Tunesat account for years. Here’s my experience:

    If the wrong show title (or no show title) is displayed initially, it usually corrects in a day or two.

    If Tunesat detects a promo or commercial, it will display the title of the show in which the promo/commercial airs. That’s pretty easy to figure out though. If the same track and length is detected during several different shows in the same day, it’s probably a commercial or promo.

    I haven’t noticed any significant change over time in the percentage of placements that are detected. I would estimate that 15 to 25 percent of my placements are detected, and often only a portion of the placement is captured. I only track US TV placements.

    It IS perplexing to me that this service detects so few placements. I know I’ve seen posts on MLR reporting that some composers have a much higher detection percentage than me. I can’t figure that out.

    I still choose to pay for the service though. When deciding what music to produce, it’s very useful to know what is being placed ASAP, and I’m not aware of an alternative to Tunesat. Customer service is good and the interface is easy to use.

    in reply to: 1st PRO royalty and how many tracks written prior? #26656
    composer
    Participant

    Roughly 1-2 years and 100-200 tracks before PRO payments started. Then another 5-6 quarters before quarterly payments passed $1K. That was roughly 4 years ago and payments have grown steadily. Of course, I’m continuing to produce music.

    It’s a long term enterprise for sure.

    in reply to: Percentage confusion #26588
    composer
    Participant

    It can be corrected. The amount you were erroneously paid will be deducted from a future statement.

    in reply to: Percentage confusion #26584
    composer
    Participant

    50 percent means you co-wrote and split the writer’s share. 200 percent means you own the writer’s and the publisher’s share.

    in reply to: Hiring Musicians and Sharing Royalties… #26560
    composer
    Participant

    If you are bringing in musicians to record music you have written, you can treat it as a work for hire. You pay the musicians for the session, but they don’t participate in ownership or royalties.

    I think you can find boilerplate WFH agreements online. Doesn’t hurt to speak with a music attorney of course. But the spirit of this kind of agreement is pretty straightforward.

    in reply to: Netflix Back End #26528
    composer
    Participant

    In my experience, payments for original Netflix programs are similar to good cable placements and less than many network placements.

    My BMI statements include many (2-3 pages) Netflix payments under $1 for streaming of shows that originated elsewhere, and much larger payments for streaming of very popular shows. I don’t know if that represents less royalties per view than other TV reruns.

    in reply to: Tunesat or other Royalty Tracker? #26461
    composer
    Participant

    Tunesat certainly doesn’t catch everything….but you can always use it as a guide for what tracks (and what type of tracks are getting placements, which library(ies) are they with, etc…

    I think this is a great reason to use Tunesat. Tunesat detects only some of my placements, but information about what is being placed is useful.

    You could save some money by tracking only US placements.

    in reply to: BMI Correction issued #24818
    composer
    Participant

    Here’s what’s puzzling to me about this correction: In some cases, the timing was wrong (always too short) on the original statement, it was corrected on the new statement, and the payment increased. That makes sense. In other cases, in the same situation, the payment decreased. This even happened a couple times for episodes where I had two placements on the same episode. Both timings increased, one payment increased, the other payment decreased. Why would this happen?

    I’ll ask BMI. Thought I’d ask here also in case I missed something obvious and someone can help solve my mystery.

    Thanks.

Viewing 10 posts - 11 through 20 (of 72 total)