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How many tracks did you have in how many subscription libraries to make that?
How much did you get per license?
Advice: You said that one of your libraries put your songs on a subscription site. How is this allowed?! It sounds like you give your music to a library and then it can just go and put it on everything like P5, AJ etc etc and take a cut instead of you putting it there yourself. I’d really appreciate it if you named the library to make certain to avoid them!
Beatslinger: isn’t it more likely, and easier, for a production music track to be licensed for an unpleasant use than it is for a record label piece of music?
Production music is pre cleared and specifically designed to be easy to license, and the writer has basically no say in its use.
Glad to hear it! Sounds like PRS is up to speed on these things which is great.
Well, first of all, that’s pretty good news that you got broadcast placements through NE libraries while being neglectful! Your music must be good.
Having said that, I’m not entirely sure what you would do in this case. I think you could approach PRS with your data from TuneSat and explain. See what they recommend. If they don’t seem to know how to help, keep asking for different people until you get someone with experience in international royalties from production music. You could also try contacting ASCAP and explaining to them too.
Have you been paid anything from PRS for this advert yet? Or was it for a different TV show?
Since you’re with PRS, I think your first hurdle would be for the PRO of whichever country those uses are in to account for them correctly and make payment to PRS on your behalf. The second part would probably be much easier, which would just be making sure PRS sends those royalties to you.
Are the TuneSat detections all for US advertising airings? All with ASCAP? You could also try asking your publisher to chase after them for you, seeing as they’ll be wanting their % too.
Bear in mind that it can take a long, long time for you to be paid for airings in foreign countries.
Interesting discussion. I know which library Beatslinger is referring to as well. Beatslinger: do you have material with them? How do you know if it leads to other libraries?
I suppose sometimes another library might hear your work in one place and come to you. It happened to me once but I’m yet to see how that deal turns out!
I’m not with SGAE myself, but I did have a couple of friends who had experience with them. It did’nt sound good to me, and based on the article you posted as well as some national press there, I personally wouldn’t want to be a member of SGAE..
This is about the worst deal I could imagine. I’ve been offered it as well and would never sign it.
If your track is on a corporate video – you get zero.
If your track gets a big license fee to go on a Netflix show, you get very little from backend and no share of the license.
And this is exclusive, forever, with no up front! It’s totally unfair (IMO).It also depends mostly on:
What is your split of the sync fees?
What is your split of backend royalties?
Is the up front money an advance to be recouped, or a non-recoupable fee?
I’ve heard of them too and checked them out. It would be interesting to see some competition for them. I browsed their listings and it looked interesting but I didn’t pursue it any further.
I was wondering: what do you do when a library that has some of your tracks exclusively, in perpetuity, decides to change to a subscription model?
Other than not ever submitting anything to them again, I’m really not sure what we can do.
You do not have permission to view this content.As sad as it is, I agree with Music1234 that in general, stock music licensing sites do not value or care about writers (whatever they may claim to the contrary) and see them as a cheap commodity to be exploited.
Sometimes there is a company which is an exception to this and they really do care, but what I’ve seen over the years is that they either end up selling to a bigger, impersonal corporation, or they don’t do well because sadly, to compete they have to be as ruthless as the others.
Some of the things which have happened to me in the music library business have been, in my view, pretty deceitful and underhanded.
Something like a music library composers’ union could help, but I don’t see how to set one up when there are so many writers who would take deals we wouldn’t. It’s a difficult situation but the only way I see us all getting somewhere, is joining together and presenting a united front to the libraries.