Forum Replies Created
- June 19, 2016 at 5:42 pm in reply to: Submitting to libraries while seeking publishing a mistake? #25200
Make 1.5-2.00 min instrumental edits and use those for libraries then save the full length vocal version for the publishers. In 6-7 years when the vocal versions are starting to sound dated and still haven’t gone anywhere you can add those as well 🙂
Did you sign any Schedule A/Exhibit A s for the specific cues?
Did other cues you submitted AFTER these cues already appear in the online library?
Considering it’s only been since late 2015 and if these was the LATEST cues you submitted and I would chill for a while. It’s very common for a library to go months before updating their catalogs, some of the biggest ones only update their catalogs once or twice a year. I did a group of cues for a big library which I delivered August 2014 but it was just released in April 2016 but they paid me a nice upfront fee for the cues which I got right away so I don’t care.
I also knew a library who once didn’t update their online library for 1.5 years, they were still distributing via hard drives but even if they didn’t that’s up to them. Sometimes libraries have major programing projects going on or other higher priorities than updating their catalogs which is often the least important aspect of publishing music.
If the missing cues are NOT the latest cues and you didn’t sign any paper work for those cues and the newer submitted cues appear in their online library and the first letter in the Library name starts with an “S”, I would assume they passed on those cues.
Then I would just shoot them en email saying something like ” Since those (name the cues) cues are missing from your online library and I didn’t get any Schedule A/ Exhibit A to sign I herby assume you guys passed on those so I’m just letting you know I intend to use them for other purposes. Please advise if this is not the case.
Just make it real easy for them to reply and stop you if you can’t use them elsewhere.
Also keep in mind that the person you’re emailing might have been told by the boss to only answer important emails from clients or to do sales or fix registration or only answer emails from composers who generate the library lots of income. This might seem unfair but many of these libraries have only 1-5 people working for them managing 100s of composers and if all of them write emails a few times a month, that might cost the library $5000 extra in salaries to their employes per year just to answer those emails, so always make sure u do anything you can to answer your own question before contacting them.
If it the same library I think it is, it’s also very important how you formulate your question to them, make sure your email is no longer than a 2-3 line and super clear.
Just my 2 cents
Interesting, can you give a ballpark dollar figure on how much it would be to set up a will like that?April 21, 2016 at 1:35 pm in reply to: rock/pop artists interested in PMing each other our best libraries? #24686
You do not have permission to view this content.April 15, 2016 at 1:30 pm in reply to: Do you recommend purchasing the "2016 Film&Television Music Guide"? #24653
No, I doubt that’s gonna do much for you. This business is realitonship based and beside you can probably dig up that info in that book via the internet using sites like this http://variety411.com/us/los-angeles/ but again I know where Capitol Records are located but doesn’t mean anyone is gonna listen to my stuff just because I drop off my demo at the Capitol Records building.
I can’t get over how amazing it is that Mark Lewis has shared this software for free with us. Hats off to you sir!
15-20% of writers seems fair, most likely the library would take 100% of the publishing.
It’s basically a commission based sales deal.
Your time spent middle managing it between the library and the bands are the investment for which you collect the fee in form of writers share. Of course the possibility of having wasted time on this also comes back to you and your judgement. Not sure how fair the deal would be if you didn’t have to put a little work into it.
Just do it non exclusive and re-title as a way top say out of other versions of their songs. if they sign a record deal later they can keep their original title for that, the library can pull out the re-title (the audio) and not pitch it further but can still collect from previous placements on cue sheets under the re title
To have the artists and bands pay you a fee would be a hard sell for music library deals, that’s more of a song plugging deals where they are pitching songs to big artists ex Tim McGraw or Reba and some song writers pay cash fees to be part of regardless of results.
Don’t worry too much about getting into a exclusive library later, these guys wanna be rock stars and probably don’t care much about not being able to sign with Jingle Punks Exclusive versus Crucial anyway.November 7, 2015 at 3:49 am in reply to: U.S. PROs Consent Decrees – DOJ Considering Lowering Your Income! #23316
I wonder how that would work for BMI writers who has co writers with foreign PROs then ? I guess for safety it’s probably best to tell Libraries to make sure they use their BMI entities to collect for a foreign PRO co writer in those cases. I know some libraries default to their ASCAP publishing entities on foreign PRO writers so probably best to request it.August 29, 2015 at 11:59 pm in reply to: Assigning PRO writer Royalties to your Corporation #22700
Thank you very much MichaelL and Art for the input, highly appreciated. Seems like Taxes would be the only benefits then. If I find out any more I will post it.August 27, 2015 at 3:00 pm in reply to: Assigning PRO writer Royalties to your Corporation #22691
BumpJuly 15, 2015 at 1:58 pm in reply to: What to do when an exclusive library goes out of business? #22181
Opps I didn’t see Michael had responded to this already.July 15, 2015 at 1:56 pm in reply to: What to do when an exclusive library goes out of business? #22180
Keep all emails you sent asking about the issue on file and gather all the evidence you can about them going out of business, ex. taking screen shots of their website or non existent website. Also read your agreement if there is any other company names associated with the agreement if so try contacting them. Keep all this on file. Also shot them an email saying that you will threat this agreement as nullified unless you get a response.
I’d say 90 days of trying to contact the company with no response should be sufficient time. Then treat the deal like nullified. On the off chance someone would sue you for it, you have reasonably evidence and cause for terminating the agreement. Plus a company who has gone out of business most likely wont spend a bunch of money on suing you for breach of agreement. Don’t fall into a trap where you create a bunch of problems and extremely unlikely scenarios which prevents you to further exploit your music. Also beware of lawyers who use scare tactics to get you to pay for their services. Suing someone is a huge undertaking that most will wanna avoid unless there is a big pay off and those Pawnestar/Kardashian placements aren’t going to be worth it.
Thats really good information Mc_GTR. Thank you so much, I will contact them on monday!
Thanks Veeagra, I appricate your insight!