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> and then went on to start our own music production and distribution company, Partners In Rhyme Inc.<
I noticed Partners In Rhyme provided music to one of my favorite movies on Netflix these days – “It’s a Disater”. Some nice classical pieces that work really well with picture.
Michael – seeing as the song is over four minutes long and is made up of unique sections, I would split it out into three separate pieces and make each available for licensing individually. Probably more money to be made licensing three one minutes tracks than releasing an EP?
True. I had tracks used as source music in two feature films recently (one is on Netflix now, let the pennies start rolling in 🙂 )
FWIW, both were “World” or “Ethnic” music. One was through JP and the other, as near as I can tell, came from an RF site.
Steady. Looking forward to international next month…
Hello tawmy, I like the mix, especially the use of the stereo field. The vocal gets a bit tiresome for me. I’d like to hear it drop out for longer sections to let the piece breath for a bit.
You probably wouldn’t receive a zero balance statement. A lot of this business is “set and forget”. Let that company do their thing and move on to your next opportunity. This company will pay when the time comes. Oh -some companies have a payout threshold, they don’t send a payment until they owe you over a certain amount.
>On my ASCAP publishing statement today, I made a whopping $0.01 from Apple iRadio. Hey, it’s a start, right?!<
$0.00008 for me on Apple iRadio. Would take 125 times that to get to your penny… 🙂
I would think if the library changed their payment terms, any previous contract would become “null and void” and you would either sign or not sign the new contract. Or perhaps the contract you signed would remain in affect under the terms you agreed to, but any new material submitted in the future would have to be under their new terms.
Let us know how it works out, we all can learn!
My opinion is broadcasters are stretching the boundaries of an ephemeral use. It’s one thing if a band marching in the parade is playing a copyrighted piece, that’s the type of thing the use should cover. But planning ahead to use a copyrighted piece should always be paid for properly. Local TV here seems to be a frequent offender. There’s a live local news broadcast that takes requests from viewers. They announce “tell us what song you’d like to hear on our broadcast and well try to play it on the air”. They use popular music for cuts to commercials and transitions. I suppose they feel it is within their rights as a live broadcast. And maybe it is, I don’t know the law. But really, taking requests???
Anyway, don’t mean to change the topic of this thread. Hope you do see some royalties!
Hey Art, not to rain on your parade and for my own education – is it possible your placement in the live broadcast of a parade will be considered an “Ephemeral Use” and seeing as it wont be re-broadcast no royalties paid?
Kind of makes you ask “what’s going on”? 🙂
>In reality they were probably willing to give up a slice of the pie, if they got called on it, and the fight was just about how big a slice.<
It this were the case, wouldn’t it have been smarter to settle out of court? Or maybe it was the other side who insisted on a jury?
I agree with MichaelL Getting composers to say no is not likely. I’ve turned down offers from libraries and for other writing opportunities in the past. It always seems to come as a surprise to the person making the offer that a music creator is actually turning them down. I’ve tried to be outspoken in the past about fair compensation. I even published a music pricing guide three years or so ago to help composers. But now I feel it’s a lost cause…
You were probably looking for info. on dog sleds because you live near Boston and had to get to the grocery store… 🙂
>I admit I check in there almost everyday, It’s maybe a unhealthy compulsion. But I bet others here also do that. I hope I’m not the only one.<
I can rationalize frequent cue sheet checking. 🙂 I think knowing who is placing what where can guide you in knowing what to create next, and who to send it to. You can also tell what tracks are performing well and use that information.