[Paolo]

Usually there is a clause in the contract (should be) that states what happens in the event that either party is in breach.

Hopefully there’s no clause in the original which states that the payment term may be subject to change or adjustment.

This is very helpful – I’ll look for these two elements. Thanks Michael.

[Paolo]

@Michael Nickolas
Thanks Michael. I appreciate your feedback

@Desire_Inspires
Thanks DI – I should have mentioned that the perpetuity agreement is between the library and the composer – that the composer can never remove their music.

[Paolo]

bumpy

[Paolo]

HI Jenna,

Michael L is a member of this forum – very knowledgeable and works both sides of the composing equation: entertainment lawyer and composer.

Why not PM him to discuss his availability and rate (to look over your license agreement).

Another thought – a lot of these non-exclusive agreements are repetitive and boiler plate with changes to very common aspects between library and composer. If you review the agreement and post specific questions here, there are many folks who could help. Also, you could probably find some answers in this website’s “contract” forum.

Good luck,
Paul

[Paolo]

Hi Yellowbeats – congrats on your new 6 month membership 🙂 (compliments of DI and Art).

Should I wait to know what contract they are going to propose me

You can ask the music licensing company to send you their composer agreement for your review. That agreement will spell-out the agreement terms including if they’re nonexclusive or exclusive, etc.

It shouldn’t be much of a wait though. I usually get the agreement within a day or two (if not immediately) after I ask to review the agreement.

If i join Crucial and put my music with them but then Music2licensing offers me an exclusive deal what can I do?

Under an exclusive deal, you would not submit the same music to Music2licensing that you submitted to Crucial – this is what you’re agreeing to when you sign an exclusive deal. However, if Music2licensing is non-exclusive then you can submit the same music to both.

typical two years contract

There seems to be less and less of what’s typical. It could be any length.

Paul

[Paolo]

streaming is paying 1,000 times less for the same shows than broadcast.

HULU/NETFLIX has been on the rise – though gradually – from one figure (first payments) to low three figures. So hopefully/optimistically this trend continues.

[Paolo]

My royalties come from a handful of TV themes, so it’s simple math. The number of themes + bumpers X the number of shows X the number of stations X 52 weeks per year.

how I did this quarter is unrelated to increased or decreased placements. It’s always identical. So, what I’m actually seeing a change in baseline per performance value.

Ahhh…I see what you mean. thank you.

[Paolo]

Michael,

I’ve had 150,000 to 200,000 annual performances of a small number of TV themes for almost 15 years

Those are very impressive numbers (and speaks to your music’s longevity). I’m looking at my BMI statement right now and other than counting the pages, I don’t see an aggregate number of performance counts. And I would assume you didn’t need to (nor wanted to 🙂 count one by one 150,000 occurrences of performances.

It would be great to also know my total number of annual performances. Could you share where on the BMI website you were able to see your number?

[Paolo]

@MichaelL and @composer

I’m with you. I don’t know what to make of these BMI statements either.

Last quarter, my BMI statement was so bad (at the level it was 3-4 years ago) I had to force myself to not think about it – and I buried it deep inside my hard drive directory. This quarter, it’s way, way up and back to my higher levels.

So maybe next quarter you’ll see a big-bounce back too.

Paul

[Paolo]

I see my titles going up and no new works being added

Got it – so you’re seeing that just the total number of titles/works registered (displayed at the top of the page) increases but you see no additional new titles, cue sheet titles or TV show names with episode names?

Just wondering – has your count continued to increase but not dropped to a previous lower number?

[Paolo]

Trackmaster,

My total number of BMI “works” also goes up and down.

It should only be happening when one of your music libraries registers your title with a cue sheet (“cue sheet” is noted right next to your title).

And then, from my experience, titles registered again via cue sheet will disappear after initially being included in your total works registered.

Let me know if I explained that clearly.

Paul

[Paolo]

As I’ve done more research with what’s getting placed in these libraries I’m finding that it’s quite different from the music I produce

Hey Mike,

I think you’ve hit on a key issue right there – what else has been getting placed. But if there’s no downside to keeping your music parked there, why not leave it there and forget about it for another year or two?

Unless, you’re finding it a source of disappointment that just plain feels bad — and pulling your tracks would be like finally pulling out a splinter. Then grab those tweezers.

[Paolo]

I just wanted to thank everyone for your replies – your feedback, advice and insights were very helpful and I really appreciate it.

[Paolo]

@Vizzahh

I use a novation Impulse 49, ok for synth parts but not for piano

woodsdenis uses the novation Impulse 49 so that’s worth checking out. And “feel-wise” I thought the faders and knobs felt pretty good when I tested the Artoria KeyLab 49 at Guit Center – but would need know about their reputation.

[Paolo]

@woodsdenis

Thank you for the additional feedback. I just watched a video of the Presonus Faderport on Youtube and that looks perfect for fader automation.

If I troubleshoot Logic to recognize my trinity’s controllers (Joystick, Ribbon controller and 2 assignable knobs) then I won’t need an additional MCU,

Thanks again.
Paul

[Author]

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