Forum Replies Created
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…