Tbone

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Viewing 15 posts - 16 through 30 (of 211 total)
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  • Tbone
    Participant

    I’ve never really trusted the PROs and I feel like I trust them even less now. But there’s no other choice for collecting back end as far as I can tell.

    in reply to: no sync fee contract #37498
    Tbone
    Participant

    Yea, and just imagine what kind of people you’d be dealing with if they’re comfortable offering 0% sync fee, $0 up front buyout deals to “their” composers.

    in reply to: no sync fee contract #37483
    Tbone
    Participant

    No, it’s not normal and it’s not fair. I was offered a no sync fee contract once and said no.

    You could be missing out on many thousands in sync fees for placements which will never make a cent in back end royalties. Your intuition on that is right.

    in reply to: UK prs member, choose ascap or bmi for US collection? #37443
    Tbone
    Participant

    Also another thing – I thought PRS just collects whatever money it is sent by ASCAP or BMI. The important point will be which of those two your US publisher has your tracks registered at. Which one are they using? ASCAP or BMI?

    in reply to: UK prs member, choose ascap or bmi for US collection? #37442
    Tbone
    Participant

    I don’t remember very well but I think that option was there when I first registered tracks myself. I think I just left it as it was.

    But if your tracks are published by a library, they should be registering them everywhere for you. Usually a library will have a subpublisher in each territory to do the registrations. Is that not the case with your US publisher?

    It’s strange that they would let you do it yourself in my experience. Are they allowing you to take 100% of back end in the UK then? Since AFAIK writers cannot register the interest of a publisher when registering tracks with PRS.

    in reply to: Repurposing Old Tracks #36983
    Tbone
    Participant

    Wow, that is a really great track, and fits the commercial perfectly! Did you play in the fiddle/violin live?
    Yes, reworking tracks is something I’ve done quite a bit to make additional versions for the same library. Some have gone on to do better than the originals..

    in reply to: Another Royalty Ripoff! #36030
    Tbone
    Participant

    Outstanding news Art! I’m glad they paid it in the end.

    Tbone
    Participant

    It depends on the rest of the deal. For example, what % cut of license / sync fees will you receive?

    Some example terms, not necessarily real:

    50/50 on all income, no up front
    25% of sync fees, $300 up front per track
    0% of sync fees, $1000 up front

    I don’t think there is a standard rate that I know of. Each company is different.

    Tbone
    Participant

    Maybe Michael Nickolas is on to something here.. I’m guessing they use a different name at ASCAP? Is that because they’d need to have a different IPI there? That would explain why I can’t find them by searching for their normal name.

    Tbone
    Participant

    Hi Music1234,

    I understand this is how it works in most cases, but I’ve just checked the ASCAP repertory, and as strange as this seems, this particular publisher doesn’t seem to have any tracks registered there at all. They seem to only be with SESAC. I’m not sure how this works.. They are a big publisher and not new either.

    When I looked them up on ASCAP, all it said was that this publisher was a member of SESAC. I can’t figure this out.

    Tbone
    Participant

    I made a couple phone calls to ASCAP and SESAC to find out more and apparently they can’t pay each other for royalties owed to a composer at the other society. For example if I’m a member at SESAC and I have royalties at ASCAP through another publishers, ASCAP won’t pay those to SESAC for me.

    I’m thinking more and more that the publisher at ASCAP would have to collect them for you and pay them to you, but I don’t know for sure.

    Tbone
    Participant

    Overall I think library music earnings will be hurt substantially by these events. Although I think trailer music will be hurt the most, because cinemas are out of action, movies are being delayed etc. It’s very hard to imagine a piece of trailer music being licensed right now.

    I have also heard rumors that some PROs are saying they will be unable to process royalty payments normally, due to staff being away. I don’t know if this is true but obviously this wiould have a very negative impact. Then there’s the need for cue sheets to be filed correctly, which I think is also less likely in this environment.

    Besides these points, it is also very hard to see advertising syncs going anywhere but down, if we enter a deeper recession. And I have already received ntoice from one RF library that their earnings are about 50% down one month to the next.

    As of this week, I’ve begun to feel the reductions bite. It’s a pretty bleak time right now for me in library music.

    in reply to: Another Royalty Ripoff! #34344
    Tbone
    Participant

    I have some tracks that are with SESAC due to a publisher being with that PRO, and although I have no idea whay I may have missed, I have noticed commercials being paid out without me having to track anyone down. There’s a commercial running now so that’s going to be the next one I check in a few months’ time..

    in reply to: Another Royalty Ripoff! #34164
    Tbone
    Participant

    Also, another thought / question: Do ASCAP and SESAC also use Numerator only? I’m sure I’ve had an ad that was for something you’d find in a pharmacy be tracked through SESAC.

    in reply to: Another Royalty Ripoff! #34163
    Tbone
    Participant

    This is just unbelievable and totally awful. I am so sorry Art. I think we need to find out if it’s because Numerator doesn’t track prescription / pharmaceutical ads, and then if so, let Your Music Your Future know? Start some kind of awareness campaign? I mean really, I don’t see how this is legal. To not pay royalties on something that is airing this much is just terrible.

Viewing 15 posts - 16 through 30 (of 211 total)
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