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@angopop totally agreed and I’ve mostly heard my music in mono
Imo we have to do all the production tricks to get the ear of the decision maker placing the track in a show but then make sure the overall balance is rock solid in mono as it will likely be heard in mono and well below the volume of any potential onscreen dialogue.
@Art Munson good to know thanks!
Reading things like this makes me think I should leave ASCAP but, on the other hand, in the case of the infamous ASCAP survey system it could potentially work in a composer’s favor if their music gets used a lot on a series within the window of time of the survey.
And I wonder…are there ways that ASCAP pays better than BMI or SESAC?
Just trying to get an accurate lay of the land because I’m early into the library game so switching would be less painful for me than others but I can’t even initiate that process with ASCAP until September anyway. Maybe I’ll see more positives in that time.
Wouldn’t It would be nice to be able to just focus on the creative and quit worrying about all the other variables we have absolutely no control over?
Edit…Oops I replied to your response on another post too.
I’ve read here and other forums the expectation is that the library gamewill take 1-2 years to start seeing a return and then years beyond that to possibly go full time, etc And there’s a thread on MLR that says full time volume would be 1500+ placements.
I’m just wondering what the average number of cues written before the returns started happening for others? 200? 500? 1000? Not counting edits.
I know there’s a ton of variables and everyone’s story will be different but I’m hoping for some sort of consensus.
Thanks @soundspot! Hard earned advice.
I’ve read here and other forums the expectation is that the library gamewill take 1-2 years to start seeing a return and then years beyond that to possibly go full time, etc And there’s a thread on MLR that says full time volume would be 1500+ placements.
I’m just wondering what the average number of cues written before the returns started happening for others? 200? 500? 1000? Not counting edits.
I know there’s a ton of varialbles and everyone’s story will be different but I’m hoping for some sort of consensus.
Thanks for everyone’s replies here (i’m not the OP) but it helps to learn from others.
Question: how long did you submit songs to libraries before you saw PRO royalties?
Thanks in advance.
I have cue sheets that haven’t lead to a royalty payment in my ASCAP account and, in one case, I was told they had not received any air schedules from that particular station.
@gdomeier curious to know your results. My experience has been ASCAP answers email inquiries in about a week.How many cues did you get placed before you saw a PRO payout? I know there are a lot of variables but I’m still new to the game and am seeing Tunesat placements and cue sheets land but I’m still waiting on the big payday 🙂
@ArtMunson Congrats!
And that’s a glimmer of hope that a PRO (when faced with undeniable proof) will eventually (possibly) concede.
@GoldenEar and @Alan – sorry to read this! I’m also an ASCAP member and have cue sheets in my account right now that will never earn anything due to the survey/lack of air schedules from stations, etc per ASCAP.
I’m still new to the cue game but stories like this are VERY disconcerting! Is this a similar scenario at BMI, SESAC or unique to ASCAP? For anyone with experience – is lack of earnings on a cue with this many uses “normal”?
I understand the library game requires lots of cues but the scenario described by the OP seems even more of a gut punch if a writer’s songs are (hypothetically) signed exclusively, getting used, and still earning nothing.