[TAE_Music]

Hi Mark Lewis,

I am not a PMA member and I do not represent their interests nor am I recruiting on their behalf. That said, I was being direct, not heavy handed, and was *only* addressing the topic as this topic has gone from “What kind of membership benefits would you like to see?” to “They need to change and restructure their entire business model before I join and this is what they should do”.

I want to keep this particular topic on course… that’s all.

[TAE_Music]

Hi LAWriter,

No nerve struck at all, raw or otherwise. I was simply defining what this topic is and isn’t about.

You wrote: Practical easy things? Um….how about a list of every associated library with detailed description, contact info, link to their website, what they are currently looking for, etc. You know, a good resource for WRITERS.

THAT’S the kind of input we are looking for.

[TAE_Music]

This topic is simply this. What would motivate you in the form of member benefits to join the PMA as a composer member?

It is NOT about changing their business models.
It is NOT about PROs.
It is NOT about RF libraries.
It is NOT about exclusives vs. non-exclusive.

Think of it this way… what if the SCL asked the same question about membership? That’s all it is. If you are paying to be a member of the PMA or the SCL what would you like to see as benefits that could help you? The PMA has composer members. It is asking for input for ways to improve membership from the composer perspective.

I want to see composers thrive (I am one) and I believe we have an opportunity to give ourselves another career advantage here. We need them whether it is library related or not. Would it be better if the PMA were not reaching out?

[TAE_Music]

We are getting some great information here but the topic has gone astray. Perhaps we have asked the right question but in the wrong way.

Here’s the gist:

The PMA is a publisher organization that also offers an inclusive, composer membership. There are, what I would call, basic benefits to membership already in place. As the Composer Advisory Committee (CAC) to the PMA we are requesting your input as to what benefits to membership would better help you, the composer, navigate the existing geography in the form of a composer membership.

Would educational resources be useful (things that could help you advance within the PM world, etc?)

Would “tip sheets”, as Paolo suggested, be helpful?

Would a general point of contact be useful?

These are the kinds of things (but not limited to just those things) we want to hear about from the composer community.

Thanks everybody!

P.S. As Art pointed out, we are not the PMA, but an appointed, composer committee selected by the PMA Board.

[TAE_Music]

Thanks Paolo! If you (or anyone reading this) could “build” what your membership would look like what benefits or opportunities would you like to see?

Q: What doors do you wish were open? What guidance do you feel is missing?
A: “So I’m not sure what benefits or opportunities exist for composers joining the PMA.”

[TAE_Music]

I think I can speak to exclusive vs non-exclusive. I have recently discovered, having founded a library myself recently, that foreign sub-publishers will not accept anything that is non-exclusive. It’s two things to me: it’s not greed but wanting to have a catalog like no other library has (increasing it’s viability in the marketplace) and also wanting to do business worldwide. I hope this helps shed some light on the exclusive vs. non debate a little. My own experience has been doing a ton of research to learn what fit’s with what library, how much reach a library has and does the client (shows) use the kind of music I am making. That helps cut through the “kiss it goodbye” pile.

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