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Saw it. Loved it.
Such a thing doesn’t exist. And probably never will. All we can do is keep an eye on our music (tunesat, etc) and keep contacting our PRO if it looks like they are missing something.
I am aware it doesn’t exist. And I’d agree that it most likely never will in the near future. The reason I mentioned it is that if it DID come into play at some point, it could be commissioned and directed towards PRODUCTION MUSIC only, and that would change our livelihood immensely. The vast majority of music that is broadcast is production music (BMI’s leadership is on record on that one) – not pop music – and the shift of monies in it’s correct direction would be a massive paradigm shift that current PRO’s will never allow.
As for watching Tunesat…that’s a joke. I have far too many titles to register and track them on Tunesat and still have enough money to eat. PLUS, more importantly, BMI doesn’t acknowledge Tunesat placements. So what’s the use?
We’re stuck with our current PRO’s and the paradigms they have set in places – like it or not. Carry on….. Sorry if this comes off negative. It is what it is.
I think there IS too much negativity on here
Well….if the industry is all hugs and kisses, and pretty pink roses, then there probably won’t be much negativity. If the industry has continuing problems, challenges and warning signs, then there will probably be negativity. 🙂 🙂
I don’t know what you can do about that. Things are what they are. People are what they are. It’s kind of negative to chastise the negative folks don’t you think?
haha!! Unless we want to get into draconian moderation, I don’t see anything changing. And personally, I HATE those kinds of websites. (Is that negative on my part?) 🙂
PS – the funniest thing is….upon getting to know them, I’ve found “negative” people some of the funniest, coolest to hang with, most talented individuals on the planet. Go figure… LOL
@Kevin –
I suppose I’ve been accused of being “negative” more than a couple times in my life. 🙂 🙂
The thing is, I’ve been doing this for DECADES, and I’ve got the experience and stats to back up what I say. (Mostly…. 🙂 ) But I’m pragmatic, a realist, and a dreamer as well. For every time someone accuses me of being negative, there’s another time, where I’m trying to play into what many would call an “unrealistic” dream. LOL I try to balance those equally, but there are times that realism just hits home, and it comes out “negative” to someone who either doesn’t understand me, doesn’t understand the industry, or just has a delicate spirit that can’t handle the realism put forth. Why is there negativity? Cause the reality is : the world is a pretty ugly place. Especially for musicians trying to earn a living at music. It just is.
30+ years ago, in the early 80’s when I joined the musician’s union barely out of HS, VP Vince Di Persio told me that only 6% of “professional musicians” doing “professional gigs” earned 100% of their living from music. (And that included teaching). Insane. And that was the early 80’s. The heyday of music. When virtually anyone with a modicum of talent and perseverance could get in and “make it”. And make it I did.
From that point, until now, I’ve earned 100% of my income from music. I’d guess that by now, that 6% has dwindled down to 0.00007 % or so. Insane. And yet….here we are. I feel blessed that I still earn my entire living from music – most of it from writing – and I support a family as well.
Is that negative? Or positive? I guess it depends. It’s a positive for me. BUT, and here’s the rub….I couldn’t have made it to where I am today without the help and communication and helping hands of others in the same boat. And that’s where MLR comes in. It’s an extremely valuable resource. Not a feel good dreamland.
MLR is a unique place. A place that library writers can gather, discuss the options out there, get advice, research libraries, and yes : DISCUSS difficult issues – with other professionals and like minded individuals intent on the same goal – making production music. Hopefully it can be done pragmatically, but the reality is, we are faced with a myriad of problems that will sink us unless discussed and navigated around. Critical issues such as :
– ASCAP not paying on valid cue sheets
– BMI being as transparent as MUD when it comes to payments
– Publishers who under contract lie to your face, and do not honor their commitments.
– Publishers who underhandedly change the rules, and don’t bother to tell you.
– “Writers” who literally steal your music, retitle it, and call it their own. THEN, start collecting licenses on your music.
– The current situation with streaming and the collapsing performance royalty paradigm
– How to navigate the subscription wars
– How much is “enough” for a master rights / publishing buyout
– How 2019 compares to 1999. (This is an UGLY and negative subject from my perspective – I’ll admit it)So there you go. Plenty of negativity. But also, plenty of opportunity to learn from those who’ve “been there, done that”. Plenty to learn from outside the box thinkers who are doing it differently than you or I am. Plenty to learn.
I’ve probably learned the most useful stuff I’ve learned from ‘negative” people in this industry. Without them, I’d probably be driving a UPS truck….
PS – BMI has tons of cue sheeted placements they don’t want to pay for either. And they don’t. The only difference between ASCAP and BMI? At least ASCAP lets you SEE your cue sheets. With BMI, everything – and I do mean EVERYthing – is hidden behind an impenetrable curtain. Good luck with that….
re: the ASCAP vs. BMI thing…..
Yes, no doubt ASCAP is in the business of taking care of themselves before the composers they represent. Unfortunately, for those naive enough to thing that BMI is different, I can assure you it is not. One may come in higher than the other, but it can alsop flip back to the other side. There is zero doubt that BMI has a HIUIUUUUUGE agenda, and unfortunately, it does not include those who write for libraries. Tough luck for us I’m afraid. I’ve had it with BMI, and their veiled agenda’s, lack of truthfulness, and incredibly narcissistic behavior. Then again, ASCAP isn’t looking too good either.
As mentioned many times – the answer to our problems is a library music based PRO that deals only with production music. Until then, feel free to sit at the back of either PRO bus.
TRUTH!!
Is that just me being negative and whining?? LOL 🙂 🙂
Going to BMI Jan 2020…
I’d love to tell you guys that BMI is better, but honestly, it’s just as bad. Only different. They (BMI) are not paying on hundreds of placements for me. That is hundreds that I accidentally discovered. I’d guess thousands over the years. And there is no answer from them as to “why”. Pick your poison. BMI, ASCAP, SESAC. All cut from the same cloth.
how do I give that ^^^^^ a big thumbs up??
Yeah, everyone seems to be having “sales” right now. Back to back sales even. One sale ends, and the next is just a week away. Why would anyone buy at “list” price when the sales never end.
“Good business” seems defined by how many sales you can have, and how much market share you can grab from the other guy. The real, honest to goodness, SMART businessmen know how to work the market. And they are quietly doing just that. Behind the scenes, no sales, no hype, no flashy hoopla. Just solid product, solid marketing, solid customer service. They will survive.
The VC endeavors? Who knows, but their strategies are definitely on shaky ground. I think your assessment is pretty spot on Music1234
Oh, and yeah, the price difference between a $15 track and a $50 track is nonexistent for businesses making videos. IMO it’s shortsighted and ignorant to dump prices and try to compete at the bottom. A loosing strategy.
Meaning, what will these two entities track and pay on that AS, P5 and BMI aren’t doing? And what will SoundExchange find that Songtrust doesn’t and vice versa?
I know NOTHING about sound trust,,,,but sound exchange pays out on “on line” performances…well, I guess you call them performances – from satellite radio and internet radio. NO STREAMING. Including spotify, youtube, and the like. Nothing that is “ON DEMAND”. Only “pre-programmed” sources. Like internet radio. I’ve got thousands of songs out in traditional and non traditional libraries, and none of them have seemed to cross over into sound exchange territory. Zip.
YOUTUBE (Google) should be paying all the PRO’s $1 Billion each so we can truly be paid fairly from the PROs when our music streams on line.
That’s a big assumption that the PRO’s would distribute fairly…. I can only imagine what BMI would do with a billion.
The train couldn’t get out of the station if composers weren’t naive or uninformed. NO composer, even those just starting out would agree to terms of $0.17 a license if they KNEW what was happening. I don’t see any bullet trains in the future. I think they are going to fold up and die.