Forum Replies Created
- December 20, 2018 at 8:36 pm in reply to: How much per track for a complete buyout (incl. full artist share) #31387
This sounds like the new PRO free direct license (real) royalty free library model that some european companies are doing including a certain swedish company. Complete buyout and bypass any PRO. Horrible money deal and very bad for our industry!.
It could definitely backfire on you!
Mine was up a bit but still a good bit under what my royalties used to be before BMI changed the rules on how they pay on shows.
Sorry Art and Paul, for some reason I read “Tunesat” as “Source Audio”. in that sentence. It was in the middle of the night……:)
I think Art meant to say “Tunesat’s will NOT detect existing files that are already being broadcast”.
Here are some suggestions:
Google “how to find TV airing” and many options will appear. If not call Discovery and ask them. “Google” in creative ways, that’s your best tool. Perhaps look for local stations who air the program and see if they have posted their program schedules somewhere maybe on their websites etc.
ex DId u check TV guide already? Can you find an old TV guide where it is listed or do they show legacy airings,?
There is no set way of doing this, just creative researching.
and don’t forget those old school, mixing schemes like panning bass and drums all the way to the left, vocals in the center than the rest to the right
I would not bother the library with this but that’s just my 2 cent
Get a copy of the show and find the spot where your music is used as proof. Then find official listings of airings. Discovery should have it listed somewhere. FInd the airings listing which you haven’t gotten paid for and include screenshot proof that the show is on Hulu and Netflix
Present that to BMI and try to argue for correction,
Think like a lawyer presenting a case.
But personally, I wouldn’t bother because of the time involved.March 16, 2018 at 6:42 pm in reply to: Musicians Agreement – Old Song and Don't Have Agreement #29625
Definitely B and don’t worry about it, if it generates any significant income money, perhaps offer your friend some money to sign off on it to get the release signed. But a verbal agreement is also an agreement so buy him a cup of coffee and be done with it.
Basically, there are two options:
A.You either move all your (legacy) works with you to the new PRO (You get one check from BMI)
B You leave all legacy works with ASCAP and only your new works goes to BMI (Basically after a certain date when you are all BMI). (You get two checks; one from ASCAP for your legacy works and one BMI check for new works or the ones you decided to move over to BMI
Depending on your catalog ex if you have a Hit song perhaps ASCAP pay better (?) then leave that song at ASCAP then move your Production Music Instrumentals to BMI.
What would make me a little worried (my own theory) in A. would be in the scenario where you have a ASCAP publisher collecting for your ASCAP writer share but once that work goes to BMI how would the publisher collect unless getting them involved to update their records with the PRO too?….
Whenever works are “questionable” they go into to the unclaimed royalties black box (Which the PRO gets unless claimed) and I’m worried a switch to BMI from an ASCAP writer would put the works in the “Black Box quarantine”. Also if publisher forgets to update their records etc…… I think I would go with option B just to avoid that to be sure…September 10, 2017 at 4:55 pm in reply to: Netflix and our collective futures..aka…are you depending on BackEnd? #28153
After 7-8 years of steady back-end income from library music, predictable within $1-2K every quarter (which has been my main source of income) this year it’s sunken 50%. I thought it might have something to do with the dollar being overall weaker ex if the PRO collects fewer dollar fees (from overseas) in a particular year it will drag everyone income down too? Or that BMI changed the rules in 2015 on how they pay royalties (counting view ship per show)?
Ironically enough I was expecting this to be my best year as I have more music out there than ever.
Kinda feels like I got fired but hopefully, it will pick back up next quarter if it goes down I guess I got to look into other markets or (professions).
LA Writer bring up many eye opening and scary points. Perhaps it’s just the end of the back end era.
Have anyone with ongoing regular placements in cable experience with switching from BMI to Sesac? How is Sesac paying in comparison for back end royalties (cable) to BMI? (I know Ascap is worse for back end cable so I’m not switching to them).
Although BMI has been good to me in the past, I’ve always felt left out when it comes to customer service and transparency. Customer service at BMI seems only to involve being redirect to an answering machine.
Stay away from Tunecore, that admin deal is exclusive and they basically just collect an admin fee for doing nothing, There have been many comparisons charts out there on companies like that, just google it but I’de go with CD baby over Tunecore but there might be better ones depending on your needs.
Standard delivery for TV is 16-48k, same as Post audio specs like SFX and dialog. That’s the closest thing to a standard I’ve seen in broadcast. Dub mixer’s format is usually 48k so if u del;over 44.1 it will be Resampled when it goes into the Re Recorder’s session. All this 24 bit stuff is often sales tools used by the same people who will ask you how to convert a MP3 into a 24 bit 48k wave file ha ha ha. I’ve noticed that libraries who deals with mostly single drop licensing is often 16.44.1 and broadcast backend bulk libraries are often 16 48.
My master format is 16b 48k
Just my 2 cent.