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Great! A better, secure way to get the .33 cents they owe me.
/sI see ASCAP has started sorting cue sheets by newest first instead of alphabetical. Finally, an easy way to see recent uses.
Art published on this site an article I wrote about codes. It was a while back but I wouldn’t think much has changed:
>I remember the love and passion I had, as kid, when I first picked up the guitar. That has held throughout all these decades later. <
Absolutely! I started guitar when I was nine years old. Now that I don’t spend all that time in the studio (trying to earn) I’m able to go back to my first love. I’ll play guitar as a passion for as long as I can, not a means to financial ends.
>I’m on the tail end of writing anyway, cause even without AI, it’s a grind and pays less every year….<
This realization hit me mid pandemic. I found I was working hard for less and less reward. I told myself I would take a break from the studio, which basically turned into semi-retirement (I’m 61). I am satisfied though, having had the chance to create music for income for over 20 years. Good luck when you decide to move on!
“Wow, nobody knows? That’s fine – as an industry, we are known for holding our cards close to our chests.”
It seems you are saying two different things here. First is that nobody knows and second is that people do know but are unwilling to share.
My opinion is it’s the first – nobody knows. I’ll bet the three names you mentioned that have done TV themes each found their way there in different manners!
No problem. Good luck with everything, it seems you are on the right track…
While true that a track could be pitched by both libraries to the same opportunity, it is also possible that a production may shop for music at the new to you library, but not at your previous library. Can’ predict the future.
You say you at the moment don’t want to sign tracks exclusively but you basically are making your tracks exclusive with the first library if you don’t spread them around.
>Just how did you conclude that I think the music creators should not be paid???<
I think it was because you used the words “a free advertisement for the owner of the the music” in your post. I absolutely agree to what Art says! And a free advertisement (or “exposure”) for the owner of the music is not particularly helpful.
Unfortunately, it is normal. Last quarter on a library’s statement I had a piece streamed on social media ad 18,220,130 times. It generated $136.53 in revenue. And my cut was 40% of that. I’ve stepped away, it really isn’t worth the time spent in the studio.
At the top right it would say “Account #:1234” where “1234” would be the last four digits of the bank account it was deposited into. Sorry if this is a repeat post, doesn’t look like the first went through.
>Also annual salary needs vary greatly from person to person.<
True. And doing this full time could require sacrifices some may be unable or unwilling to make…
Twenty years ago it took only three ASCAP payouts before hitting four figures. So maybe a time machine? 🙂 Seriously though, I think you’re seeing the affects of streaming on this business.
I show up on IMDB in the soundtrack listings for two movies. One was a Jingle Punks placement and the other by Crucial.