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anyone know yet when they wiill be paying out for Q1 2020 this month?
this post gave me a giggle i’ll be honest 🙂
you have to contact all the publishers that those tracks are registered with and get them to submit a works removal form for those works. its actually straight forward enough even thou the PRO’s try to make it difficult as they dont want composers jumping ship with their catalogues. the other thing to remember is you have to let the PRO know of you plan to resign from them within a certain window. i think its between Oct-Dec of a year as far as i remember.
not sure if same trend is happening at BMI. all i can say is June was my first BMI statement since resigning from ASCAP and it was a higher statement than any of my 3years with ASCAP. read into that what you will.
same here. not seen cue sheets from ASCAP in a least a month. i think they’ve given up being a PRO lol.
i presume you mean low 3 figures per placement not over all?
mine was lowest since i started getting my first statements beginning of 2018. scary times. especially for those who rely on music for their full income.
US Network pays out great. probably the best in the world from my experience. i’ve personally seen as much as $100 per minute on CBS Broadcast for standard BI.
precisely. i’m starting to think composers have the same fear attached to a PRO than people have to a high street bank. there’s a huge portion of the population who would never consider changing their bank even if they hated the experience they were getting on a daily basis. fear of change is a powerful thing lucky enough for some of these PRO’s.
nice man. yeah that should pay you over $100 maybe even up to $200. yeah its funny i also had a recent placement of one my non-exclusive cues on prime time on CNN which also paid out nice but i more see that as a happy accident rather than the networks are not looking for exclusive tracks. i know for sure many are like NBC.
Yep ASCAP are the problem here end of the story. if our composer colleagues are getting paid for BTN placements for the same shows then we at ASCAP should be also. anyway i’ve only had to put of with this nonsense for 2 years before i finally resigned from them last year. moved to BMI this year and will be taking my back catalog over too hopefully although there’s a bit more of a process to that. i suggest all media composers who are with ASCAP do the same. resign today. this is the window they allow it between October and December 2019. they might not give a s**t but it might at least send them a message that its disgusting to treat writers this way.
funny thing is…this was from a trailer album. Anyway, I thought, since this is a high end library, that sync fees were involved each time a client download and use a track. My mistake…
but when you say high end do you mean high end trailer libraries like audiomachine, Colossal, Really Slow Motion, Immediate?
or just high end production library as there is a huge difference. a lot of high end production libraries will put out trailer music albums because its pretty much a genre now but that doesnt mean they have the high end clients that pay the big syncs.
Sync fees are drying up and it’s quite possible none was charged by the library.
i presume you just mean in production music and TV music? i imagine other parts of the production music industry such as trailers are not affected.
i’m not sure if PRO’s have strategies but u really get the sense that ASCAP has abandoned the production music composer in favor of the traditional artist. BMI seem to be way more media composer friendly from what i can see so far having been with both.
ditto for BMI.