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I was thinking recently (perhaps optimistically) there is going to be more demand for content than ever because everyone’s at home. I have noticed plenty of plays recently on lots of best moments/greatest game/top 100 type sports shows, (presumably editors can work remotely and put these programmes together) and as Music1234 says there will be plenty of repeats on TV – hopefully they will be repeats of shows with our music! Most of us who are a one person operation can continue to work as normal. I for one am very grateful for that. I think those of us who have been doing this for a long time – who are self-sufficient and are making a living – will survive it. Anybody attempting to break into this business right now – well it was already harder than ever before and I really feel for them, but my message to anyone would be the same as it always is – if you can, keep on keeping on.
@Kubed – very interesting to know thanks. I wonder if there is a delay between the BMI paying the PRS (because it sounds like they are pretty on the ball with it) and the PRS paying me? I don’t think I’ve ever been paid for a U.S. placement any quicker than a year. Sometimes it’s been many years.
Maybe this quarter it will be different.
Just maybe… 🙂Hey guys. As a UK composer I am with the PRS and we all must be on a different schedule. Here we get paid on the 15th of April, July, October and December. The December payment was presumably brought forward from January at some point in the past, in order for composers to provide for their familes at Christmas. It’s very nice to get paid then but it makes the four month wait for April feel very long!
It’s interesting that you refer to the payment you just recieved as ‘for 3rd quarter 2019’. Does this mean you are mainly paid for usage which has occured during that three month period? The PRS is nowhere near as precise!It might sound crazy but this kind of thing is why I haven’t put out a non-ex track for about three years now !
Hi St0rMl0rD, (I have no idea how you pronounce that!)
Yes they still exist, but they are a lot rarer than they used to be. I think that that rarity can be demonstrated by the radio silence on this very post – composers who are still receiving fees can be forgiven for being reluctant to disclose any details.
I’ll give you my experience; I used to ask about and go looking for information on upfront fees, but that information was so scarce – seemed to be such a closely guarded secret – that I gave up asking and concentrated on generating back end royalties instead.
After a few years a funny thing happened – I began being approached and actually offered the work for upfront money by libraries who had sub-published my work or heard it somewhere.
So my advice would keep on keeping on (one of the most often repeated truisms uttered here is that this is a long game) make as much high quality music as you can and get it out there – you never know who will be listening…Anything between one hour and one week
I’m not handing over a thousand dollars to anyone no matter how much of an expert they claim to be.
Well at least they are completely unbiased when it comes to reporting the news…
I think I know the guy you mean Michael. I’m not sure anybody is buying his stuff though – it’s horrendous.
You do not have permission to view this content.I don’t think it’s bad. I don’t think customers will be put off by it in the royalty free world. If you look at Audiojungle for instance the top selling author there is called Stock Sounds.
Not too bad although the person I hired was so keen not to make mistakes (and also because every library’s upload process is so different from the last) I spent a lot of time answering emails and explaining things!
I would recommend looking for somebody who has the specific experience of uploading to music libraries if you can.