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bigg rome:
Who accused mike of being arrogant?Hi Bigg Rome
I had a few run-ins a while back. Haven’t heard from those folks in some time
BTW…friends do call me “Mike.”Cheers,
Michael / aka Mike
Just to clarify John. I have no problem with retitling your music for different libraries. It might be a good idea.
I just wouldn’t represent that you are giving it to any library exclusively, that would be misleading, which is not good if there’s ever a contract dispute. It invalidates your half of the bargain, and potentially relieves the other party of their obligation to perform.
Can I simply ask:
Even if the library I use retitles my work elsewhere, is there anything legally wrong with me retitling my own work for other non-exclusive libraries?Hi John,
I’m not sure where you’re located, but you mention Euros, os I guess you’re not in the US. In the US a writer can copyright his/her works with alternative titles. So, the short answer is that in the
US there’s nothing illegal about you re-titling your works.The long answer is complicated and the debate rages over whether the practice will continue, and for how long.
Under any scenario, you would not be able to offer the track to anyone exclusively, merely because you changed the title. The underlying work would remain the same, and in the event of of watermarking /fingerprinting you could get into contractual trouble.
Cheers,
Michael
Art:
Hmmm, how did you get that early? Tomorrow (6-22-12) is the quarterly distribution date.Forgot to mention, congrats!
Yes, congrats Guscave!
Art..how do you modify/edit a reply? I don’t see that option in the forum.
Advice:
Why do you NOT want to use your real identity? Curious… (Have you tried a phonebooth?)Seriously, I’m curious. Does it have to do with what comes up on Google searches?
I’m sure there are any number of reasons, like writing in different genres. In the past, many musicians and actors changed their names to be more “American,” and avoid prejudice. For example Tony Bennett was really Anthony Benedetto. Sometimes artists use pseudonyms to avoid contract or union problems, when playing on another persons CD or label. Sometimes your real name doesn’t convey the image that you want…if that matters to you. Which sounds more hip and edgy, Pink or Alecia Beth Moore?
When I was writing full-time for an exclusive library (one CD per month) THEY asked me to pick pseudonyms. They didn’t want their clients to see the same name all the time and get burned out..i.e, overexposure. I know that it seems counterintuitive, if you’re trying to establish your “brand.” But, it’s not really, if you are working outside your “brand.”
Today, with some libraries saying “you can’t be in our library if you’re are in library X, or participate in content ID,” it might make sense to create a different persona for that purpose (with different cues of course).
It may be beneficial to separate your A, B, C and D work under different names, and market those tracks where you feel appropriate. It’s kind of like “re-titling” yourself. Think like a corporation marketing different levels of the same product, e.g. Toyota / Lexus.
Cheers,
Michael
“People have accused me of being an arrogant >no-it-all <, but I think that you just won the crown."
I can't even spell. Proof positive that I know nothing. 😆
You’re good to go.
Back when I joined ASCAP you couldn’t “login.” There was no internet. 😆Cheers,
Michael
Perhaps i didn\\\’t express myself well enough. Of course people want trailers, but unless you can do them as good as the libs you quoted you are wasting your time because nobody will use them. They want the best not a poor pastiche done with midi instruments. This is what you are not getting guys.
But hey, some people are happy hiding their head in the sand so good luck to you and your meagre earnings!
If you want to earn real money take the trouble to work at improving quslity and developing your niche. Its funny hw people produce unimaginative, dreary music in styles that have been done to death for inferior libraries that never get used with midi instruments that sound rubbish – and then come on here complaining they earn nothing! Duh – go figure
Feel free to insult me, its not a problem, but the sensible ones here will learn from what i say.
No insults for you “Steve.” But I think perhaps that you are the one with your head in the sand or the the clouds. People have accused me of being an arrogant no-it-all, but I think that you just won the crown.
I strongly suggest that you read this… http://en.wikipedia.org/wiki/Zack_Hemsey AND watch this… http://www.youtube.com/watch?v=0JGHI4TAC5U. It was composed, AND RECORDED with a “pastiche” of midi instruments in the hands of a very talented young composer.
I congratulate you on your accomplishments, but if you believe that composers, using in midi instruments in spare-room studios, aren’t achieving major successes you need to do a little research.
Cheers,
Michael
Let’s be clear here, so that no one gets an undeserved bad rap.
Big Rome and others, do you mean…. http://www.musicsupervisors.com/
or http://www.musicsupervisor.com/ ??????
They are different.
Michael Nickolas:
181 tracks, 260 plays, 16 downloads and a placement paying $45.00.
Not sure how long I’ve been there.Not $450.00 or $4,500.00? So… if you amortize $45 over the amount of time that it took to upload and tag 181 tracks, you’re well below minimum wage into the negative earnings column.
Yikes!Yeah, that’s a bit of a smokescreen.
Language like that comes from traditional recording industry contracts, where recording artists get paid for “net” sales. Record companies deduct the costs of manufacturing, packaging, distributing and promoting CDs BEFORE paying the artist.
Many writers on the forum complain about libraries that take a 60/40 cut. Here, it appears that you’re getting a good deal because it’s 50/50 on its face. However, when all is said and done, after they deduct their “expenses,” you’ll probably end up closer to 60/40 or LESS.
We may not like giving libraries a 60/40 split, but you’ve got to respect those that are upfront about it, and let you you know that it’s the cost of doing business.
Generally, any contract that I’ve seen, with those terms, also contains a clause allowing the contractee to audit the contractor’s books (with notice). In other words, you get to see where your money went, and they have to prove it.
Alan:
Perhaps one of you with cues in syndication can lest us all know if you see a change in the rate you get for an airing?Will do. But, I’m learning that there are “levels” of syndication, e.g., “first run syndication.” I’m not sure if the different levels pay differently. I’ll let you know if I figure it out.
Yes. This quarter it’s 6/22/12
Cheers,
Michael
Writer agreements with US PROs are non-exclusive. They have no “ownership” in your music. US writers may circumvent their PRO and enter into direct license agreements.
Maybe this one slipped through the cracks, or maybe the library has a sub-agreement with another library.
OR…is it possible that you submitted this track to another library, never got a reply, and forgot about it?
Yeah… 0:19 on cable won’t pay your phone bill for tracking down the answer!