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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…..