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Yep. Looks like the certificate for the members site expired on January 17th at 5:59:59 PM CST. Pretty unusual for a major business entity, although it happened to my bank a few years back! I’m sure they’ll get it fixed shortly.
E-flow,
I’m a complete newly to production music, having just signed up with MLR on a trial basis to check things out. However, I have “knocked around” the music industry for many years, concentrating on getting songs picked up by commercial artists. I’m a few miles down the road from Nashville, but I’ve spent quite a bit of time there and know a few writers there. The BMI vs. ASCAP question has been going around as long as I can remember. And now you can add SESAC. All three PROs have different methods of determining payout and those methods have changed several times over the years. And their payout methods for production music is different from terrestrial radio and live performances. And you may have seen some posts here and other places about the recent changes BMI has implemented for production music, although I have not investigated it yet.
I have known of a few instances where writers have cowritten a song with some belonging to ASCAP and some to BMI and their payouts were significantly different-sometimes getting more from ASCAP, sometimes more from BMI. In those cases, the writers brought the issue to the notice of their PRO and received compensation to match the writer(S) from the other PRO.
I would suggest that you try emailing each PRO and ask them about their methods for computing royalties. Maybe that would help (?). The Nashville-based writers that I know seem to think it’s pretty much a wash. They tend to pick a PRO more for a rep that they have a good rapport with more than anything.
Well, I’ve already told you more than I know, so I best sign off.
Danny