[PeteJ]

Hi Art

I presume that the writer’s share would be collected by the PRO, and I’m wondering if this is then split again by the PRO or paid in full to the artist. Where there is a publisher registered with the PRO I would imagine they split it, but it occurred to me that maybe the PRO will know when what they receive is supposed to be 100% the artist’s share and do not pay the publisher split in this case. See what I mean?

[PeteJ]

Ah. Got it. Thanks.

[PeteJ]

Um. Naive question. What is a ‘sting ending’.

[PeteJ]

Aha. I’ve been wondering the same thing as Composer-of-Notes and get it now. So, a high-end client can pay to have the track exclusively for a period. This makes sense.

It seems to follow that the top-end exclusive-use deals can only be made by exclusive libraries. Would this be a good reason for signing music on an exclusive deal? Presumably NE libraries cannot offer exclusive use to their clients.

[PeteJ]

Wouldn’t it be easier just to set up as a publisher and take your cut from the PRO?

[PeteJ]

Thanks. Good article.

[PeteJ]

Thanks Paolo. Very clear. I thought this would be the case, but the business is weird sometimes and I take nothing for granted.

Where there is a label, a publisher and an artist, would it normally be the label, as owner of the recording, who places the music and collects any sync fees?

[PeteJ]

Thanks. I was just making sure.

[PeteJ]

“When I listen to the old mixes I think to myself, “What was I thinking!”” – Art.

One day I hope to come back to an old mix (from last year, last week or even sometimes from just yesterday) and not think this.

[PeteJ]

This is a question I also wanted to ask. It surprises me that there is no agency model for composers. I would have thought there’d be people about who love the business but aren’t themselves good or prolific composers. Could be an earner. But maybe the payments aren’t high enough to support the business model.

[PeteJ]

I don’t have the library expertise to comment but I was impressed. It seems a good cut above average for this sort of music. In particular there’s no sign of laziness, which often seems to afflict composers of EDM/electronic stuff. But that’s speaking musically. For a library I can imagine some potential problems with the overall busy-ness and with some of the vocals. Don’t listen to me though.

[PeteJ]

Looks like a good idea to me.

[PeteJ]

I’m an idiot. I meant Music Dealers and they are listed.

[PeteJ]

It’s a question I planned to ask. is there a audio sharing site that is less leaky than SC but still convenient? A while back everything I had on SC turned up for free on an illegal Panamanian site.

[PeteJ]

Thanks folks – some great points. Don’t worry, I’m not imagining making my fortune. But also I’m not talking about a few classical pieces from the repertoire, or not just that. Mind you. I just heard one that I’ll be doing on Top Gear, so there is hope for everything. But the original stuff is more promising, and as you say, pieces for orchestra and gtr etc. Also, it isn’t that hard to make the gtr sound like a ukulele 🙂 I’m sure that finding the right library will be important, as DI advises, but that’ll come out in the wash. I’m not ready to make a move yet.

I could mention that I’ve been an engineer an musician for a long time and don’t plan to just amateurishly doodle some tunes into an sm57. The classical gtr pieces I’ve heard in the libraries I’ve tried have not impressed.

Overdub – Thanks but I didn’t understand your comment – half the royalties on a PD arrangement? Could you add another sentence on this?

[Author]

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