Forum Replies Created
-
Posts
-
+10000
I’ve been through 18 month of hell switching from ASCAP to BMI, but it was worth every gut-wrenching moment.
Because of ASCAP’s out-dated survey methodology I received 9X, yes nine times less for the exact same cues in the exact same shows as my co-publisher (BMI), who owns equal shares.
Gael speaks the absolute truth. Even when the shows’ producer provided ASCAP with cue sheets and air-date information multiple times, they made only minor adjustments. The survey rules, and ASCAP will not budge. I have been told more than once by ASCAP officials, including a board member, that they simply don’t trust the honesty of their members. Maybe I’ll tell the whole story…someday.
Cheers,
Michael
Good to “hear” your voice again Gael.
Welcome back!
Cheers,
Michael
Just curious…if you already have 1,000 tracks in a number of libraries, why would you even bother with an unknown? No offense, but with that many tracks in established libraries, you should have a good income. How many genres do you write in?
Technically yes. But….if you sign a contract that expressly states the work in question is a work for hire, then it is.
Unfortunately, you are tilting at windmills with this one. No major exclusive library is going to pay for your work without acquiring ownership. That’s just the way the business works.
No it is not illegal, but there are certain conditions that define a work for hire. I don’t have time to explain it.
Here’s a PDF from the copyright office:
http://www.copyright.gov/circs/circ09.pdf
Short answer:
It really depends on which production music companies you are talking about. Giving your music to Jingle Punks, or a similar library, for no money, even on an exclusive basis IS NOT a work for hire. Getting paid by Megatrax to produce a collection of cues, most likely is.
“Whats the major difference Michael between this and DP 7 ? I used DP when it was Digital Performer V2!!”
#1. DP8 is cross-platform. PC users will be able to us DP for the first time.
#2 DP8 is fully 64 Bit…what I’ve been waiting for so I can use all 24 GB of RAM on my MAC.
3# DP8 is multi-platform with respect to plug-ins. You can now use VST plugs in addition to AU.
64 Bit is the biggest thing for me. I will be able build my entire template(s) inside DP… no need for Bidule or VEPRO. I will still use VEPRO to connect to my farm computer, which holds all of my PLAY libraries. But…even that may not be necessary.
If you’re already a DP user, the $195 upgrade price is a no-brainer.
I’m finishing two tracks today and tomorrow and then not doing anything else until I install DP8. It’s going to streamline my workflow tremendously. 🙂
Thanks Denis.
I saw the thread on VI this morning. Ordered instantly.
VST support is huge. It opens up a lot of possibilities.
VEP will be reduced to connecting my second computer.
Syntax akin to “synthplayer.”
@ Barbie
If skepticalinquirer is correct this paragraph is the deal killer for me.
“The “parent” company will only allow their artists to participate if the artist allows this unnamed company to re-title and take over publishing of ALL of the artists material on all of their sites.I.E. – If I wanted to allocate only 2 or 3 of my hundred plus cues to their new service, I would only be able to do so by handing over my entire catalog and have them re-title and collect the publishing. (I own and maintain all of my own publishing through this website currently.)”
1) I could not /would not turn over all of my publishing to AS. because I have three publishing companies of my own, two with BMI and one with ASCAP.
2) I do not participate in retitling.
But…
3) I would consider setting aside some exclusive tracks, for which AS could have publishing, without retitling.
Michael
@Wildman. My answer applies to US PROs.
Yes, Wildman I have had similar experiences, but I cannot talk about it now.
This may come as a shock to many writers, and I have said this before, cue sheets are only half of the equation. They do not tell your pro where, when and/or how many times your work was performed.
SO… despite cues sheets being filed your PRO still has to detect the performance. You can have all the cue sheets under that sun, but if your PRO doesn’t detect the performance, you don’t get paid. Air-date and time information is completely separate from cue sheets, and the methods that each PRO uses to detect performances differ.
Which PRO are you with?
Edit:
“Because of not or not correct filled out Cue-sheets lists by the tv stations I loose around 50% of my expected income !”
TV stations do not fill out cue sheets unless the TV station produced the show, like a local news magazine, etc. It is the show’s producer that fills out cue sheets and submits them to your PRO. PRO’s get air-date schedules from TV stations. In some cases they rely on third parties to collect that information.
Adam,
You are focusing on the wrong party. Pond5 is the company that sold your song to the alleged infringer. Pond5 can connect the dots between you and the alleged infringer. Pond5 needs to contact the infringer, send a cease and desist letter, and and revoke the license for your cue.
You also need to check to see if your cue is being sold as a digital download via CDbaby. If so, that is most likely how your cue, if it is yours, got on to iTunes.
The problem is that you don’t know if your being paid enough. It’s easy to see a cue sheet and a corresponding payment and to think everything is cool. What you don’t know, especially in the case of syndicated shows, is if they detected every performance.
First quarter performances will be paid by BMI on Sept. 21 for writers and publishers, and by ASCAP on Sept 21 for publishers. ASCAP writers’s distribution is October 9.
I’d wait until you see what you get paid.