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I regularly receive royalties (writers and publishers) from the Travel Channel for a track that was licensed via Pond5.
I regularly received royalties from the CW for theme music on a show that is now on hiatus. I don’t know if their policy has changed.CD Baby Pro and their publishing admin option involves YouTube Content ID, which can be a problem for libraries, especially some of the Royalty Free libraries.
“Making a living” is a very broad, undefined term. One person’s top is another’s bottom.
There are an infinite number of variables that go into the equation of whether or not one can make a living composing production music. Given the right circumstances and needs, I think it’s possible.Is there a YouTube link to the video? It should show who’s claiming the music.
What is the pseudonym of the person claiming to own your track?
There’s not enough information here to go on.Is this your video or did someone license your track and put it into their video, which Facebook then hit with a copyright claim?
Is the composer using a pseudonym or the video producer?
i guess my main problem is having so few tracks out there and working a full time day job so if anything the one thing i need right now more than anything is time to write more music.
Two questions:
1) Is your current full-time job a potential well-paying career?
2) If so, do you hate it so much that you’d rather do this?I’ve said it before. There are easier ways to make money and better ways to make music. At some point, even writing music can become a “job,” like any other job, which can suck the life out of your passion for music if you aren’t careful.
Unexpected money from Hong Kong, Kubed, for a track that’s 20 years old! Also received unexpected money from ASCAP for another 20-year old track that was used in a Golf Digest show.
My quarter was up.
BTW, there will be 5 BMI payouts this year, with the last one coming in November. They are adjusting the schedule in 2022 so that payouts are spaced evenly, every three months.
Sync licensing requires a different license than what you need to do cover songs for streaming, for which you pay statutory mechanicals. In order to use a cover song for sync, you need to get permission from the rights holders, usually the publisher and/or songwriter, and then negotiate a license fee with them. They have the option of refusing your request and you could be sued for infringement if you sell sync licenses for a cover song without permission from the rights holders.
It seems odd that someone would steal your music and then make sure that Amazon and GEMA had the information necessary to pay you. Do you sell your music through any non-library sources like CD Baby, Level, or SoundCloud/SoundRain?
Have you actually seen your music for sale on Amazon? In a best case scenario, Alexa is directing traffic to your site and you’re getting paid for those streams.
So how much would it cost to register 100 songs with them? Am I seeing right its “group of unpublished works” which allows only 10 songs and is 85$ a pop? Does this mean 850$ for 100 songs? or 6000$ for my 500 songs?
As Art said, $85 for an unpublished group of 10 songs, so $850 for 100, and $4,250 for 500 songs. Also, as Art said, if you have cowriters they must be the same for all 10 songs. If you have uploaded your songs and offered them for sale, they have been published and group registration is not available. You would then need to register each song individually. The current fee is $65, so $32,500 for 500 songs!
It appears that you are from Denmark. Why do you want to register your works with the US Copyright Office? Why not enforce your copyrights through Denmark’s legal system and/or the CJEU?
it’s a company wins and profits no matter what situation, while writers lose big time, and see the value of a “music license” crumble to about $1 or $3 per download (if that)
New composers enter the market every day and “established” composers upload new content every day. We have, unfortunately, reached the point where, on certain tiers and models, there is an endless supply of music, especially corporate/business music and “Zimmer-inspired” cues. Value is not sustainable under those circumstances.
I started composing when I was 9 or 10. Making money wasn’t part of the picture. Yes, I would still write. If you only write for money, there’s a lot of music that you’ll never write and there’s a good chance that you’ll write a lot of music that you don’t care about. That said, if you’ve chosen this path find a way to be passionate about it.
Too bad the US never signed on to the Geneva convention or we would be earning a lot more.
That would be the Rome Convention.
To cover a song that isn’t in the public domain for sync purposes you have to negotiate a license directly with the copyright owner. In this case, that would possibly be estate of Jerome Kern, his publisher, or even an investor who may have purchase the rights to the song.