Forum Replies Created
I personally dislike when libraries have composer names listed publicly in an open to all platform. It makes it harder to negotiate fees for high end projects ex producing a record or scoring high end projects, when they can google your name and a some old comedy cue pops up in a stock music store with prices listed. Especially if they are used to working with music that is produced like real records and not familiar with library music.
A library once made me “Composer of the month” with a picture and write up and I was completely horrified and pulled my catalog (which also included some old crappy cues). 🙂
I really appreciate the anonymity of MLR which helps us discuss things more honestly I think but I also respect everyone who is open with their Identity.
My buddy is a promo producer, he worked for one of the big networks mentioned on Bmi’s website. He informed me that it’s usually the engineers responsibility to create and file the cue-sheets in that world. After my buddy left the network, the engineer admitted that he has not filed a single cue sheet for 7 years and apparently this is very common. Sad but true. We need to raise hell about this with PROs and libraries need to put in a clause in the agreements that require clients to give them a copy of the cue-sheets.
That’s awesome Mark, very much looking forward to it. I was about to install your beta version but I’ll guess hold off a bit then.
The php database set up seemed a little confusing to me but I guess its the same way you instal word press, going into your severs control panel and generate a new database on the domain you want to use….anyway thanks again Mark!
Regarding import format, I believe .CVS is the most universal format as it can be used by excel and various txt processor. Soundminer would be a nice feature but you can wrangle into and from that format with CSV in excel anyway so if you were to pick only one of the formats, defiantly pick .CSV
I would love to beta test at some point but very busy at the moment, is there a link where we can quickly take a look at how it looks installed?
Thank you very much for doing this Mark!
Reminds me of the endorsing trend on LinkedIn, people you’ve never meet endorsing you for something in hopes of you endorsing them….I’m gonna start endorsing people for BS and fake endorsements 🙂
So I guess it installs like a plug in? If so, does it slow down loading performance of the site? Thanks!
-“can make their original content available for licensing simply by adding the “license” button from Getty Images Music to their SoundCloud player”
Instead why not just add some tags yourself that says something like “To license this track contact the artist @….etc”
If someone finds your track on sound cloud and wants to license it, why send them to Getty? Unless you just want to have them to handle the admin perhaps but the job of a music licensing company is to GET the clients either by having a an outlet where clients frequents or by pitching your music. This way the client found YOU without Getty’s involvement so why not just handle the licensing yourself. And then you don’t’ get the devaluing of your music by being associated with Getty Images Music 🙂 but that’s another discussion…
“I’d also be interested in the question of “What would be a fair price to pay someone?”
Me Too!October 3, 2013 at 7:27 am in reply to: Looking for advice regarding writer/producer splits and revenue streams. #12789
Thanks for the input Art and that might be a good work around idea woodsdenis!
Seems like I didn’t make myself clear enough in my initial post.
Sorry about that.
I never meant to say anything about changing the 50/50 split ratio between me and the lyricist’s writer shares and the respective publishing shares. (remember synch fee has 2 parts, one for the master and one for the writers/publishers.
My point here:
“Also we have an artist who might use the song on her album, what kind of revenue sources are we looking at then, assuming they are using my track with the artist just replacing the current vocals and what would be fair splits among writers in that context?”
In the record industry it pretty common to give an artist some writer’s share if they include it on their album. (started long ago with Madonna and continues today with people like Beyonce) The artists who is interested in our song was recently in a major singing contest on national television and have some major stuff going on.
So my point is:
What is a fair writers/publishing % to give out to the Artist? ex 10% to the Artist then 40 & 40 to me and lyricist if included on the album? and if they use my track and someone else produces the Artist’s vocal on top of my produced track. What’s fair in terms the master recording/production income such as a fee the label would pay to own the master share?
@Desire the “young lady” is a non musician, middle aged poet (10 years older than me) and a stay at home mom who I invited to write lyrics for this song because I liked her poems. She is completely delighted to not only have a professionally produced/written song featuring her lyrics but good prospects of having her very first song placed on a real record with a nationally know Artist!
And yes all thanks to my 25 years experience of writing/producing music and the network I’ve build up in the music business
BTW You got a pretty lively imagination there, Let me know if you want her address so you can put on your shining armor and go save her from me “taking advantage of her” I’m sure she would be very happy ha ha Just kidding.
But Joking aside.
I’m mainly trying to find a fair income split for both me and the lyricist so I can use that going forward, she will probably agree on most anything I suggest but I really want this to be fair for her too, so I was looking for input since I’m mostly familiar with the instrumental production music world.
I was also looking to see if I’m ignoring some kind of additional producer income, especially in the “record label” world…..
Lets look at some of the income flow for a Beatles song on their album.
“Beatles Song 1 on some Beatles album”
Writers and their respective publishing shares are equally split 50/50%
Then George Martin as the producer is paid by the label to create a master recording that the Label now owns (I assume if the Label nor the Beatles were to pay George Martin he would be the owner of the recording?)
Then the label pay the publishers the mechanical royalties for units distributed who then pays their writers.
Then the Label also pay the Artist (in this case the same as the writers) some kind of royalties for units sold?
and if a music sup on a show have $10000 in total synch fees for “Beatles Song 1” Label gets $5000 for the Master fee and Writers/Publisher gets $5000.
Is it common for a label to share their their master Synch fee with the Artists?
The third scenario is if no Artist is in the picture for mm and the lyricist’s song. (Aka called the hot innocent underwear model”LOL)
If a music sup offer me and the lyricist $1000 to use our song.
I’m 50% writer/publisher and the 100% producer of the song and (derby the owner of the recording since this is a separate thing from writing).
The lyricist is 50% writer/publisher of the song
What is the fair split for a $1000 divided among me and the lyricist?
(Would love it MichaelL with the lawyer background chimes in.)
Thanks guys!October 2, 2013 at 8:55 pm in reply to: Looking for advice regarding writer/producer splits and revenue streams. #12784
bumpSeptember 4, 2013 at 3:11 am in reply to: Why do companies not like telling info on placements #11950
Yes what ypb2857 said, but also add to that they might not want you bothering the client, Especially if it was 20 sec in a reality show as part of many cues that was placed. wasting their time when they have already paid. Would you wanna use the services of an auto shop if you find out that all the mechanics was also gonna get your contact info and might even call you?
Also wanting to know what all the details is such an ego thing for the composer and a shame if a client or library or even PRO have to waste money on paying the staff to answer such questions. If all the composers ask for this info it would definitely cost the library money. Look it’s production music nobody cares who trigger that SD2 sample with those strings.
Write another cue instead of worrying about this…:)
Yes another big network regularly takes 9-11 months to pay synch fees due to the library. They are are so consistent in doing this that I almost think it’s part of their business plan. Imagine all the money in interest they musts accumulate on delaying millions of dollars in vendor payments every year. Also if the library was gonna rip you off they would probably not let you know you had a placement in the first place. Also keep in mind if you are generating placements for the library it’s in their own interest to keep you happy.
Thanks for the great info Mark. I thought the 3 acts was usually made up from several different cues and not just one unless custom composed?
The field for signing up doesn’t seem to work. Is this plug a separate thing from the website template your were developing? Eagerly awaiting to see solutions from you and Mark, as upon finding this tread I was thinking about hiring a programmer myself…
I think contacting the client is outrages. I used to be on staff for a publisher and one composer who’s cue was used as a theme for a show (although part of of a blanket deal) called several times to the client trying to hustle up gigs for him self and every time the client would call us and complain why this guy was was contacting them. The client (in this case was a large production company with many shows) pay for the service of PRE-Cleared music catalogs. They are saving money on NOT having to deal with composers or curating catalogs them self. Let’s say they pay $500-2000 per episode as blanket fee per episode to use a library and the average reality show might use 100 cues per episode, so do the math. They pay their editors many times more an hour than what they are paying to license one cue so if you were the client would you want you employes to waste time on dealing with composers? They are paying the library for the legal liability ex that there is no copyright infringements, no mystery writers, no samples just ripped from a Snoop Dog album. They are paying not to have to have their $100 an hours post sup answering questions like “how do I use an FTP program?”, “Why haven’t you guys registered my cues that have never been used?”, “What do you think of my unfinished raw idea for a cue I just submitted 30 minutes ago” “Have you heard back from the music request which I as part of 100 people submitted to and is not due until next week?” etc. (These are all questions composers have asked, no joke), On top of that most clients know very little about music publishing, and why would they trust just some random composer calling them who’s cue was underneath some dialog in a scene? Or in 0: 30 sec spot they finsihed 9 months ago. Lately I’ve seen agreements which say composer agrees to not contact the client which I can see being a selling point for a library. BTW I’m a composer my self so I understand why you would want to contact them but ask your self if you were building a house and hired a contractor whom you might have established a long relationship with to build it and all of of sudden his painter start contacting you and say I’ll paint your other house for 20% less, how would you feel about it? or him. Would it make you trust him or would you think he might have stolen the paint? Anyway this is turning into my version of Family Guys “What grinds my wheels” ha ha sorry:) Just my two cent…..