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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.
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..
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.
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.
Congratulations daveydad! Which PRO are you with by the way?
Thanks Strat 56 for posting that – very interesting to see. I’ve also ended up in an experiment with one library, where the library suddenly introduced a subscription service. I figured I’d let it run for a few months but so far it’s looking very bad as well.
That seems odd. Must be another way in.
That’s what I thought too! I’ve explained more to them and will see what they say..
Numerator ended up quoting me something like $20,000 a year, so maybe it’s changed there or I’m asking for the wrong thing. Obviously I’ll have to pass on that.
Back in the day it was very easy. I’m not sure the routine now but definitely harder.
Ah ok, I’m not too surprised it’s gone that way. I have a feeling I could get a free trial, but I’m not sure they’d give me free access permanently. I’ll report back once I talk to them.
How did you guys get an account at Numerator? I signed up but they want to talk before going any further.
I don’t know much about trailer music but if I’d written an album, delivered final files and signed a contract one year ago for a library directly and that library still hadn’t released it, I’d be chasing them up.
Sub-publishers is another matter. I’ve seen that take a year sometimes..
I don’t hear it either. The snap sound in the percussion and the tempo are similar but that’s pretty much it. In my view this verdict is crazy.
But how could a writer have dumped everything they have in exclusive agreements into this? That would be against their exclusive agreement.
Interesting.. so did they just place their entire non-exclusive catalog with the subscription libraries? Or write new material?!
I’m with Music1234 on this. I am not at all surprised by the figures from those other composers. If anything I’d expect subscription income to be even lower than those numbers, and much much lower than regular sync.
One question though: why did these top writers decide to put their music into this subscription model? Can they get it back?