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33% of writer’s performance royalties and 16% of sync fees isn’t exactly what I’d call a fair deal, which is what your composers will get if you and your business partner take 2/3rds of what’s left over after the publisher takes their cut.
You’re talking about performance royalties right? Those are still really low for YT. On the other hand, if you’d received the Content ID income for that video, you’d have made something like $25,000 – $50,000 depending on where the views were from.
Came in late Friday night. You might want to call them
Check with your library – CNN tends to be direct licensing ie zero royalties.
What’s a hefty tv royalty. Anyone here had one.
To some that might mean $100 a track per quarter. I aim for at least $500 but I’m also spending 5 – 10 days working on each track.
You write for trailers though right? Or am I mistaken?
Yeah that’s me, but I still do a lot of library music designed for TV, and make the majority of my income from that stuff used in unscripted shows, sports etc.
400 tracks is nothing at this point IMO
I’m not so sure about that. I’ve made more from my last 100 tracks than I have from the previous 2000.
Quality over quantity has proven to be a winner for me.
All of those variables are always 100% out of your control.
Great points! But, I’d argue there’s something in your control that increases the odds of those opportunities dropping out of the sky and into your lap: QUALITY. Moving from a spam-mode mindset to attempting to make each track the best thing you’ve ever done goes a long way to increasing the odds of theme use, major syncs etc.
about two years
Thanks for the push to take a look – usually I have a rough idea but last year was a bit wacky, and my numbers were really different from what I usually get. Here’s my breakdown:
57% performance royalties
25% mechanicals
12% sync
6% upfrontI have some music on that show, and for comparison, this is what I got from it airing on cable (MTV)
$24 for one minute of music.
As far as I could figure out, the show gets about 400,000 viewers per episode on its first airing.
Maybe Hulu’s rate isn’t so bad after all.
I think that what we’re going to see with the future of royalties (streaming replacing cable) is that hit shows will no longer prop up the royalties we get from less popular ones. At the moment we pretty much get the same amount of royalties per show – just depending on how many re-airs an episode get. ASCAP gives a bump in the rate for very popular shows, but it’s not a huge difference. With streaming, the difference will be HUGE.
I’ve been told by PRO employees that a hit show on a streaming service will likely make a composer more than they’d get on network (but for a short time, then the income quickly fades as the world is done bingeing the series). But an obscure non-hit will get a fraction of that.
Maybe that’s a fairer situation? Certainly going to be a lot more brutal.I don’t think you need to commit to a YouTube or IG channel that uploads new content every couple of days. But there’s a lot of good that come out of interacting with people in the business, commenting on their posts, congratulating them etc. Let people know you’re alive.
LinkedIn is a more professional crowd and it seems like just about every library owner / supervisor is on there.You shouldn’t need to transfer ownership- just fill out the form your PRO gives you to start receiving the payments as your company.
You’ll want to do that with any other company that pays you too.Yes, it’s part of the required details for sending you money via ACH or wire transfer. Make sure you give them the electronic routing number – not the physical check one (big banks often have two different ones).
Not much I’m afraid.
I had some music in the 2019 World Series on MLN and the rate ranged from $0.30 to $1 a minute, depending on the time of day.