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  • in reply to: Infringement – what really happens? #13247
    Tbone
    Participant

    Not in the US. It doesn’t cover business in the sense that it doesn’t cover future income from business… there is no way I can find to cover that.

    in reply to: Infringement – what really happens? #13245
    Tbone
    Participant

    I agree, you can easily go mad with this stuff. I pretty much have. My pulse went to about 250 the last time a friend pointed something out.

    I like the asset protection because it also protects you from all kinds of other frivolous lawsuits that can happen in the course of a lifetime. For an anxious wreck like me it was the only course of action.

    in reply to: Infringement – what really happens? #13240
    Tbone
    Participant

    Hi Vyv,

    I don’t have any personal experience. But I have also heard some bad stories. They could be rumors I suppose.

    I have had terrible moments of fear where something I’ve made turns out to sound a bit like something mainstream e.g. same key, same chord progression. Twice a friend has pointed something out. The worst thing is that although it’s all by accident, I now have a constant underlying anxiety that I’m making something similar to a well known song without even realizing it.

    To be honest, I think if your career is in music creation it is wise to get asset protection. There is no substitute. I have considered hiring a lawyer to do this.

    in reply to: What is "normal" practice today? #13186
    Tbone
    Participant

    Yea I guess I don’t see these deals as being wrong or right, whether morally or anything else. Deals vary.. I aim for the best I can get. The exclusive libraries I’m with have made me a decent living, so I’m happy and they’re happy too. That’s what a good deal’s about as far as I can tell. On the other hand, I won’t be a pushover either – as more composers aim for better deals the more we as composers all benefit together.

    But I probably wouldn’t rule out anything until I’ve looked at it properly, and, sometimes, perhaps tried it out with a few tracks.

    in reply to: What is "normal" practice today? #13184
    Tbone
    Participant

    Here’s my experience:

    1. The most common deal I have:
    Nothing up front
    50/50 Synch
    50/50 PRO
    Exclusive
    In Perpetuity
    Worldwide
    Some of these are “RF”, some aren’t. Both make me backend, whether RF or not and some make me decent front end too.

    2. Rarer but I’ve had a few of these:
    $250 up front per track – not recouped so even better
    50/50 Synch
    50/50 PRO
    Exclusive
    In Perpetuity
    Worldwide

    3. Gave up on these a while ago:
    Nothing up front
    50/50 on everything
    Non-exclusive
    Never made me more than about $100 a year in anything so I concentrated on exclusive again

    in reply to: What should never happen, has happened. (Audio Jungle Rant) #13066
    Tbone
    Participant

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    in reply to: What should never happen, has happened. (Audio Jungle Rant) #13064
    Tbone
    Participant

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    in reply to: Online Backup Services #12644
    Tbone
    Participant

    Thank you for all the responses.

    ChuckMott: hard drives eventually fail and there could also be theft/fire at your property, so ultimately they don’t provide a fail safe on their own.

    Art: I agree, it seems more likely to me that Amazon will still be here in 20 years than Backblaze. I guess that’s partly my anxiety though as well..

    seanm: Thank you for that info!

    Desire_Inspires: I’m not from the US, so paying monthly in USD on my credit card would be very expensive in currency exchange, and if my card is suddenly declined one month it would be a real pain. To be honest, I would have gone with Google Drive no question if it wasn’t for their payment setup.

    in reply to: Online Backup Services #12614
    Tbone
    Participant

    I forgot to add: there is the chance with any online backup that one day the company just won’t exist, or won’t offer it anymore… does that worry you?

    Tbone
    Participant

    Hey Jay,

    Thanks for the reply. I use an M-Audio Microtrack portable recorder with a Sony ECM MS957 stereo condenser mic attached. What set up do you have?

    Do you mind me asking how many total FX you have for sale? And roughly what revenue they bring in per month on average? I’ve only got 10FX in total and just had one sale recently.

    Tbone
    Participant

    Jay:

    What kind of Sound FX are you selling? What sort of price points?

    I have a bathroom sound that sold for errr a couple of bucks. My only ever FX sale!

    in reply to: Royalty free…… #11052
    Tbone
    Participant

    There are two types of royalties:

    Mechanical and Performing.

    Royalty free means no mechanical royalties to be paid. Mechanicals are needle drop, meaning each time you want to synchronise the track to a production you have to pay a license. Royalty free means you only have to pay once and you can synch it to as many productions as you like afterwards. This would be paid by the production company.

    This is completely separate to performing royalties which are paid by networks.

    in reply to: Royalty free music sites and the rest of the world. #10913
    Tbone
    Participant

    More Advice:

    Now I hear how you describe it, if I was you I probably would have lost my mind over that. To hear it so much would be beyond my coping abilities..

    I also asked Mark the same sort of question and am waiting to hear, since in the UK at least none of the major broadcasters would be interested in non PRO music above PRO music as they pay the same amount to the PRO whatever they air. It’s all pre agreed regardless of cue sheets.

    To put it simply, if the BBC played 99% music with no PRO representation and therefore filed no cue sheets for that 99%, they’d still be paying the same overall amount to the PRS anyway.

    in reply to: Royalty free music sites and the rest of the world. #10910
    Tbone
    Participant

    More Advice:

    Yes, they should pay promos properly and without needing you to get involved. But they don’t. Life is cruel and unfair. I’ve felt exactly like you so I know how demoralising it is.

    You have to accept that this is how it is, and if you want your money you are going to have to chase some of them down. If it’s worth it because there are a lot of plays, go for it. Otherwise give up and move on.

    in reply to: Royalty free music sites and the rest of the world. #10905
    Tbone
    Participant

    More Advice:

    The synch fee has nothing to do with the broadcast royalties.

    The library determines the synch fee with the customer. The PRO determines the royalties with the network.

    I can’t comment on your individual case in much detail since I don’t know the channel or PRO.. but maybe they just didn’t file a cue sheet? Could be as simple as that..

    I understand your frustration.

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