Forum Replies Created
-
Posts
-
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!
