[Matt Foster]

Thanks Art – I will check it out

[Matt Foster]

I guess my question really is Tunesat worth it, if you have 100 published tracks…

If not, then is there another option for tracking royalties or should I just leave it up to the PROs

[Matt Foster]

Okay thanks Mike.. Is there anything else I should be thinking of?

[Matt Foster]

Hi, i can’t answer your question about whether or not your tracks will be collecting from abroad sorry. I can tell you unfortunately I have had a similar experience with PRS, and my experience with dealing with the member services at PRS wasn’t good at all…

I had a situation where my tracks with an overseas publisher were not listed in my PRS list of works – which was odd at the time because I had a bunch of tracks with the same publisher that did show up.. Anyways it got to the point, after lots of frustration in dealing with PRS, where I had to make a complaint with PRS and subsequently send a public tweet directly to their twitter profile to get some action – and I am normally a guy who doesn’t do that kind of thing… Anyways, after that oddly the tracks showed up in my PRS database of works, and have been collecting ever since.

My advice is to try and get some form of tune code or reference from the local PRO where it was published, and query that info with PRS – and don’t let them palm you off!!

Good luck and I hope you get it sorted out.

[Matt Foster]

Many thanks guys – that is very helpful, and will aid me in both communicating with them and deciding on what I should do.

The upfront is poor – 1000 euro for 12 tracks..

The only reason I am considering it, is that I have had good royalties from the projects I produced for them in the past, when there were no license splits either. Although at that time the upfront fee was considerably higher.

Perhaps, I could have it put in the contract that any per track sync fee above 500 euro should be split 50/50. That way if what they say is true, then no problem in a spit..

[Matt Foster]

Well put! That’s right

[Matt Foster]

What was your previous deal? Since you describe mechanical as not an important money maker, do you think you could do well financially with just the royalties and without the sync?

The previous deal was the same, but to be honest I was naive on the sync side of things – It’s the publisher who describes mechanicals as not being important, all the text below the first paragraph is from them. Your last question here I don’t know the answer to – kinda what I was enquiring here..?

How do you feel abut the deal? What would be your incentive to go ahead?

I feel after reading up a little, that this would be a fairly standard deal – My incentive would be that the previous projects have produced some decent and ongoing payments.

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