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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.
It can be corrected. The amount you were erroneously paid will be deducted from a future statement.
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.
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 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.
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.
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.
I attended a one-day PMA event in LA and I would do it again. Very educational.
It was emailed yesterday. It also now appears as a note when I log in to my BMI account, so you could try that.
Yes, I got it also. I checked my statement and sure enough, many of the times for blanket and superstation are way off, all too short.
I looked at a couple statements. Most payments from Belgium are under $10, except for movies.
Keep in mind that the PRO payment is lower. From BMI:
“Copyrighted arrangements of works in the public domain (classical and popular) will be credited at 20% of the otherwise applicable rate of payment for popular songs for all performances, with the exception of the Live Classical Concert distribution, where no payment is made for performances of arrangements of public domain works.”
Can be profitable anyway, and of course not all licensing involves PRO payments.I agree that it’s a difficult question because there are so many variables. But I think it is very important in this work to try to get a sense of what to expect financially so you don’t have unrealistic expectations.
So, if I had to throw a very broad range out for the 115 tracks you described, I’d say somewhere in the 4 figures annually, eventually.
But… I have a lot more tracks than that. I could pull out a subset of 115 tracks that do better than that, and I could pull out another subset of 115 that has made $0!
Also, those royalties grow slowly. So it can be difficult to tell if they’re growing slowly, or just not growing. Either could be true.
If you look at each of the library profiles on this site, there is a yes/no/info field for upfront fees.
That’s correct. That’s my portion. And those are from the last couple of statements, so maybe they’ll have a longer life in reruns, maybe not.