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Hi Art, I see you posted while I was typing. That would be good for him if it were public domain! Michael – each country has different public domain rules so watch out for that.
“In the United States, any musical works published in 1924 or earlier, in addition to those voluntarily placed in public domain, exist in the public domain. In most other countries, music generally enters the public domain in a period of fifty to seventy-five years after the composer’s death.”
Hi Michael. It is only legal to adapt the song if it were in the public domain. Based on the dates you posted it wouldn’t be. You need to contact the publisher to get a license (or maybe the Harry Fox Agency https://secure.harryfox.com/songfile/faq.jsp#faq3)
The publisher can usually be found by searching the song title at ASCAP or BMI. I see the song is registered at ASCAP but unfortunately it only says “contact ASCAP for more information”. Usually the publisher is readily listed. If you search the writer name instead of the song title he shows up and a bunch of boogies are credited to him. But Swanee River Boogie isn’t on the list. Not usually this difficult, good luck.
Thanks, trying my request via an email…
I second the number of revisions point. I once did a project where we made a full circle of revisions and ended up right where we started. This is especially true when more than one person is making comments and requesting changes. Some requests are easier to implement than others. Making tempo changes can be the most time consuming if you’re recording real instruments. Keep this in mind as you are producing. Try to work in a manner that makes it easier for you when they ask for it to be faster or slower.
No cue-sheets showing up and no reply to a message submitted (about a different matter) over a week ago.
And, can you use Rident services if you’re streaming via AudioSparx/RadioSparx?
Thanks, I didn’t even know they were paying today until I saw your post. Mine is close to average, maybe a couple hundred less.
Lately I like to use rhymes like “Banjo Jazz Show” and “Meditation Dedication”. Not sure why exactly, it just seems catchy.
Best guess is they will tell you because of the up-front payment, sync income is not split with you.
If no up-front money was paid to you for the rights you’ve granted it is likely that any sync fees collected by the company would be split 50/50. Sync fees are separate from writers royalties. But, you are only entitled to what is outlined in the agreement so you’ll have to look for this language.
Thanks, I probably would have missed that.
“The whole music industry is feeling the effects of the COVID-19 pandemic and preparing for an uncertain future. We know our members have important questions about how all of this will affect your ASCAP royalties. We have seen a lot of misleading information online about the delay of our April 2020 writer distribution. So we wanted to set the record straight, and answer your most frequently asked questions.
The good news is that the upcoming April 28 writer distribution is fully funded at the same level we planned, pre-COVID-19. In fact our March and April 2020 distributions to you are higher than last year’s, and among our highest ever.”
Hi Jon, sounds good. I’m sure you’ll do well!
Chuck, they delayed payments until the 28th I think it is, due to offices being closed and working from home. They’ve also prepared us for a lame payout, though that’s not quite how they put it.
I don’t know, maybe we’re not talking about it because what is there to say? It’s out of members hands. The payment will come when it comes and for the amount they issue. Fair or not, this is where we are. I suppose the only actionable response is members moving their catalog for the future, should they consider the grass to be greener on the other side.
On the ASCAP website home page, click on the “FAQ on the Government’s Coronavirus Relief Package” link.