Forum Replies Created
I recently submitted some messages on ASCAP for placements throughout 2020 that never paid. I’ve been doing production music for over 3 years and have yet to get paid from ANY US placements through ASCAP. One surprising response was for a show on CBS, they said there are no eligible performances. Is CBS part of the survey system? They said the same for a show on Nickelodeon, which is what I expected for that. I’m otherwise trying to hunt down cue sheets for other placements that I’ve had. Anyone have a similar experience or any tips?May 17, 2021 at 12:42 pm in reply to: (debate) very well known music libraries are not necessary the more profitable #37985
For me the big libraries have been the best (Universal, APM). Everyone has different experiences I guess!May 8, 2021 at 10:16 am in reply to: Remember When ASCAP cried about declining revenues, late checks after COVID? #37882
Didn’t get mine, it must be next week.
Usually you need to let the publisher know that you want to terminate the contract before the end of the term. As for going non-exclusive to exclusive, they most likely won’t do that. Exclusive libraries want tracks that have never been published.April 7, 2021 at 6:01 pm in reply to: Submitting to labels that are part of major publishers catalogue #37664
Hey Wall_E! When I submit to these types of libraries I like to do some research on a specific label and see if they have their own site with contact info. It is definitely a better strategy than submitting to the generic emails. See if you can find the label manager. Hope this helps.February 18, 2021 at 8:46 am in reply to: Is this Scenario Possible? Non-Exclusive to Exclusive Overnight? #37380
I highly doubt that would happen. They wouldn’t be able to enforce exclusivity if the music was already in other libraries. Not to mention the people who don’t get the memo and leave their stuff in other libraries. It would create a huge mess for the library!
Good topic! I know some fellow composers who have their own programs where they teach these skills to aspiring sync composers. I don’t personally do it, but these programs are popping up all the time. You could go the route where you teach the basics of the business for money. A lot of fellow musicians ask me questions too, and I’m happy to help. I don’t give them specific libraries usually, but I will tell them how they can submit to libraries. A lot of newbs run when they realize how much work it is and how patient you need to be!
I don’t think there is a library specifically for that. Christmas music is in demand every year from basically every library though!January 12, 2021 at 6:39 pm in reply to: How important is a personal relationship with your library? #37175
The libraries that communicate with me regularly are the ones I work with the most. It is an important factor in my opinion.
Hey guys, I was hoping someone could weigh in as to whether I should switch to BMI or not. I’ve been doing this for about 3 years now. My placements are probably 2/3 international, 1/3 US. From what I read, some say ASCAP is better for international royalties. I have about 1,100 registered tracks on ASCAP (some re-titles and alt versions). I have until the end of March to decide whether I want to switch. Any help is appreciated!