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maybe we could all just contribute to a list of rates, because this would be a huge amount of work. And still not entirely accurate – I see strange inconsistencies throughout my statements.
Here’s a small contribution – (ASCAP)
CBS promo morning – $8.99 per usage
CBS promo afternoon – $13.48 per usage
CBS promo primetime – $17.97 per usageNBC promo morning – $8.99 per usage
NBC promo afternoon – $13.48 per usage
NBC promo primetime – $14.77 per usageABC BG primetime – $119.82 per minute
CBS BG afternoon – $89.87 per minute
CBS BG primetime – $119.82 per minuteNBC BG morning – $59.94 per minute
Fox BG afternoon – $83.72 per minute
Fox BG primetime – $118.67 per minuteUnivision BG primetime – $12.24 per minute
Yeah you don’t want to be jumping up and down in dynamics, but nice drops, short pauses – these make great edit points. The piece should generally evolve from smallest to biggest. No point in giving someone two minutes of pretty much the same material, when they could just loop a section if they wanted to.
If only you didn’t need dedicated slave computers to run Play libraries!
Hey Josh, I think your tracks are great.
One observation – the tracks overall tended to stay at the same level of intensity throughout. Although you don’t want to make drastic changes in mood or style, it’s always good to have some development in a library track so that the finale / last section has a pay off.
My advice would be to start with the smallest section, develop throughout, add in a breakdown section, then swell / fill into a final big section with a definitive / final sounding ending.
The ending is arguably the most important part for TV editors.
sync – a fee for ‘synching’ a piece of music up with a project, like advertising, TV, movie etc.
mechanical – you get 9.1 cents every time your piece of music is reproduced mechanically in the US (which used to mean records, CDs, but now also covers digital downloads and ring tones – where you get 24 cents). The interesting thing about that is you are supposed to get paid even if the physically printed ‘units’ (CDs etc) don’t sell.
FYI a lot of libraries, especially RF ones, grant a mechanical license along with the sync license when a customer pays for the music.
I honestly don’t know much about that side of things because this is more the domain of the record business, so I did some digging. Here are some interesting articles:
http://www.bmi.com/news/entry/Understanding_Mechanical_Royalties
https://www.harryfox.com/license_music/what_is_mechanical_license.htmlThat last article is great for covering the basics for anyone new to the business.
If you get a payment from your library, then it’s probably a cut of a license fee or from sales to the public (iTunes etc). I also occasionally get mechanical royalties from a big library, I guess that’s when the library gets paid for something like DVDs or a toy that uses the music.
A while back everything I had on SC turned up for free on an illegal Panamanian site.
I know what you mean! I have 100’s of tracks shared on Russian / Ukrainian / Chinese etc sites, some of it is music I sell on iTunes, but most is library stuff not sold to the public.
The question is, though, is this such a bad thing? Through my work in trailers, I’m fortunate to be able to say I now make more from iTunes that from royalty free sales (one went up, the other down). Perhaps the stolen music is acting like an advertising campaign – taking its ‘fee’ but still working fairly cost effectively.
Anyone who gets that private link can stream the track.
File theft / unauthorized use is a well debated topic here. Basically two sides to the argument – should I protect my music and demos online by taking such steps as watermarking streaming demos, and not uploading to SoundCloud or YouTube, or just not worry about?
If you’re working on a project that needs secrecy, like a film or commercial, then obviously the files need to be locked down and not available to the public. You might want to keep music designed for high end clients under wraps too (i.e. trailers) until it’s used.
But once the project is done, or the music out in the public, I fall into the side that thinks there’s not much to worry about.
What do you have to lose by someone ‘stealing’ your music?
If someone’s going to use your music illegally, or download it for listening purposes without paying for it, they weren’t going to pay for it in the first place.
More to the point – any legitimate business that would actually be able to afford a license fee is not going to try and use music for free (they would putting them and their clients at risk).
I think HS and HB sound amazing, but the Play engine just destroys my mac and I actually deleted the diamond bundle off my system. Before that, I even tried using 6Gb/s SSDs for each library and it didn’t help much – the main issue is the insane load on the CPU. They should bite the bullet and convert all Play instruments to Kontakt – I think they’d make a ton of money.
I just don’t understand what they’re doing over at EW! Even the drum libraries are CPU hogs. I love SD2 (haven’t even bothered to get SD3) and still use it a lot, but the hassles make it almost unusable… even for short percussive samples in a library that came out in 2007.
I’m usually pretty savvy when it comes to the phishing emails (which I get pretty much daily), but I got totally done last year when I got a call from an automated voice saying they were from my credit card company (a fairly small one), asking me to choose a pin number and then enter my zip… D’OH!
Figured it all out at the end when the call ended with a sinister ‘sorry, your request could not be completed at this time.. goodBYEE!’. I immediately called to cancel / re-issue my card.
On my ASCAP publishing statement today, I made a whopping $0.01 from Apple iRadio. Hey, it’s a start, right?!
It’s difficult for me to gauge the difference “per viewer” between the Netflix/Hulu views and the broadcast views.
I’ve heard from someone at a PRO that it’s difficult for even them to get hard numbers on Netflix viewership.
It’s really interesting to see how things are evolving and hopefully PROS can keep pace with the changes.
You can find articles about how official ratings are dropping but actual viewership is up (Nielsen doesn’t include delayed DVR views in the official ratings). A lot of younger viewers consume two or even three sources of content at once, like watching TV while they surf the web with Pandora playing in the background.
I think what we’ll see is that the cream will always rise to the top – ratings for the best cable shows rival any network these days (Game of Thrones, The Walking Dead, Breaking Bad). Maybe the ‘filler’ stuff on channels that no one would specifically choose to pay for will end up on Netflix, or just die out.
Have you guys been seeing an increase in the web / PPV section of your PRO statement? I’ve started to see a bit more from the Netflix, Hulu, YouTube etc pages. Not huge money but it seems to be on the rise.