[Paolo]

Hey Eli,

First, congratulations on completing your first full length record.

Each version should have a different name with your PRO (BMI) and only needs one name with the copyright office.

For PROs (I’m with BMI) register the original title (ie: “A Great Song”) and then add alternate titles (ie: “A Great Song Instrumental”). This way, when either title shows up on a cue sheet, you’ll get your money.

When using copyright form SR (sound recording) you can copyright the underlying aspects of your songs: composition, performance, arrangement, sound recording of your CD. So that essentially would cover you for any version of that one title (alternate mixes; cut-down versions and instrumental beds). You’ll see this under “Author Created” on the copyright form online.

Paul

[Paolo]

Thank you for sharing this.

I’m listening to it right now – I had to rewind to confirm I heard “we’ve got 12 tracks to do – 12 minutes a track…” wow.

[Paolo]

Hi dpoit,

That’s a tough call – sometimes payment comes way down the road. And if your arrangement with them is strictly PRO, that’s more time before your music hits a revenue stream.

I’m sure there are several factors to consider

I would add two things to your list of considerations: 1) how well are other libraries (you write for) paying? 2) Is this poorly performing library draining your time and resources from writing tracks for other libraries.

Hope that helps,
Paul

[Paolo]

my main concern is that they keep 100% of sync fees

The previous deal was the same…but to be honest I was naive on the sync side of thing

I see what you’re saying. The new deal for you is the same but this time around you’re looking closer at that “no sync” part of the deal.

[Paolo]

Hi Monkeyman9,

From my experience and from what I’ve read on this forum, we’re typically offered some percentage of sync.

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?

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

Paul

[Paolo]

forgot to add:

and if BOTH writers are with the same library, then that library must have entities with both ASCAP and BMI in order to get paid.

[Paolo]

Hey Rob,

Publishers who are registered with multiple PROS can then collect their publishing shares from their writers who are affiliated with different PROs.

My wife is doing an artist development deal (she’s going to get a share of publishing) and because the three writers/composers are affiliated with both BMI and ASCAP, she had to create publishing entities in both BMI and ASCAP so that she can collect her share of publishing royalties.

Hope that was helpful!
Paul

[Paolo]

I first started placing music (starting part-time) with MTV’s Cribs.

But soon afterwards, the show starting going into syndication and all music and voice-over narration was stripped from the shows (ouch!) and replaced with music so MTV could avoid paying royalties. Soon after, I saw a big drop in Cribs royalties on my PRO statements.

I was lucky though to have music in some of the more popular episodes that weren’t re-edited and those shows are still paying royalties 8 years later.

[Paolo]

In the book “The Magic Of Thinking Big” (which I’m now reading for the third time) the author gives examples of how our mind will creatively work towards bringing us closer to those things we believe to be true. That our mind seeks out creative ways to make these thoughts our reality.

Newscasters report that the economy is terrible – but they themselves (and many others) are still doing very well financially. Some music creators state that it’s hard to make money in music and then the next issue of billboard spotlights someone who came up with a new approach and is seeing success. We hear that music is earning us less and less – and then a composer we know gets a $30,000 sync license deal.

[Paolo]

Doesn’t make much sense to me detections with Tunesat or any other if PRO’s refuse to pay out on those detections.

I’m thinking a music detection service would be most helpful with recovering unpaid money from sync licensing – so I’m looking into detection services with that in mind. But other than Tunesat, I haven’t found any others (yet) that work with an individual composer.

I’m wondering if anyone has negotiated a better money split with Tunesat or if Tunesat has lowered their 50% cut?

[Paolo]

After several years of doing well with NEs, I just decided this year to contact and also write for Exclusives. I expect to better know my leanings in about a year.

[Paolo]

I’m registering my titles with ASCAP. Can someone convince me I need to copyright, too, at 35. or 40. a pop?

You simply (okay maybe not simply) copyright them as a collection of works – all your cue titles under one main title. All that for just $55 ($85 if you mail it). Visit the US Copyright Office – Fees page and follow the links for submitting a collection of songs.

BTW: the fee used to be $35 but went up to $55 May 1st. I copyright 15 to 20 cues at a time so at $3 per cue I’m contented. 🙂

[Author]

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