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hmmm… sounds like scam to me.
They ask 20% of your earnings just because your brazilian PRO can’t properly do its job?
Just ask 10 times a week your pro to do its damn job. You’ll save 20% of your earnings.Pardon my ignorance, but what is exactly that APM Sampling?
Does this has anything to do with APM Music?
Why does a particular publisher would be the sampler?
If you have musics on digital media, but not under APM Music, you don’t get surveyed?Please tell me another answer, because the one I have in my head seem utterly ridiculous…
Unfortunately, I can’t disclose any information regarding the brand to preserve my identity. The only thing I can say is it’s a pretty famous brand. Yet, it’s true, the commercial was only aired about 50-60 times during last christmas. It’s a small campaign in the US…
The same campaign was aired a lot more in other countries in the world, Canada, UK, Spain, Italia, Germany, Netherlands, Japan.But in terms of impact, 60 airings on national networks, IMO.. Should get a lot more money than 2 dollars.
If i compare those numbers of airings on US channels to the same numbers to comparable TV channels in UK for instance, for a 60 seconds AD, afternoon and evening, then the figures should be around 4000 dollars.Great… but in my case it’s terrible, PR on US channels. I’m not affilated to ascap or BMI but in a European PRO.
This is a list of ad i had last christmas 2018 (same ad)
60 seconds ADNBC : 3 airings (mostly afternoon)
ABC Family : 14 airing mostly afternoon and 2 airings around 8 pm
ION : 3 airings mostly afternoonAMC : 12 airings mostly around 5-7 pm
ABC : 2 airings at 6 pm
TBS : 13 airings morning / afternoon
For Network : 1 airing
BET : 1 airing
Spike TV : 1 Airing ??Comedy Central :1 airing
TLC : 4 airings (3 morning and one evening )
Hallmark Channel : 2
Could someone tell me a ROUGH figure of how much i can expect for these airings ?
For now , I got around 2 dollars from my PRO. Yes you read it right, 2 fuckin’ dollars!
I’m 100 % writer share and publisher got the publisher share.
This will help convince my publisher to do even more work to try to get the monies.Do any US channels actually pay royalties ?
The more I think, US channels are really defrauding world composers by using an awful lot of music from all over the world and all over the world music libraries don’t pay a penny. If you are a US composer and get one cue used by an unknown Swedish channel in advertising, that US composer gets paid in 6 months.
That’s really pathetic.You made a great point regarding how PROs are going to handle the crisis even on very close royalty payments..
We will need to be very attentive.
IMO, we will start to see declines in next payment in april / may / june. Depending on which PRO you’re in.
I’m talking here about a very known european PRO and I’m 100% sure payment will decrease from June/July.Simply because as a result of home-working, employees of the PROs will be less efficient.Figures will go down probably even for airings that happened in 2019. This is clearly not fair, but it’s the way PROs get the money. each TV channels have to pay before the royalty payment, and you can be sure that a lot of tv channels are suddenly going to have cash flow problems and use covid19 as an excuse.
For 2020 airings, as you said, some of the cue sheets from TV channels are going to be delayed, those same TV channels will use the lockdown excuse to not fill the necessary cue sheets in time for the royalty payments.
As a side-effect, PROs will fix that in 2021 royalty payments by not asking for the late cue sheets because it would take too much time to include in their data system and make the subsequent royalty payments delayed so I guess in 2021 we’ll get a part of the payments based not on the veracity of the airings but on some general guessing. Some composers will win, some will lose.
PROs are like swiss watch, well organised. But, a small little unfortunate event and they get disorganised for 2 years.So, be careful regarding your very next royalty payments, compare the figures with last year statements, be very precise because by experience I strongly feel we’ll get screwed
Well, sorry for not sharing the somewhat optimism of the topic participants, but I already see the effects of the pandemic on my future incomes.
I’m mainly a library music writer and I earn my life with TV placements all over the worlds on tv shows llike those kitchen things, tv shows, science shows, documentaries or those police documentaries. Well basically everything that is on TV which’s not original music commissioned to a composer.
I don’t have any library used in commercials or TV series (those use original music which I rarely do) so the fact that people are staying at home has literally not a god damn positive effect on me.
For now, TV Channels dont seem to repeat older TV shows (repeat: i’m not talking about TV series or TV movies, i’m talking about shows that use massive amount of library music )
on the contrary they seem to air.a lot more movies and animated children series (kids stay at home…)So to summarize, not a lot of repeat of older shows/doc for now, new TV shows (not talking about TV series or movies again) are not being made or with a lot of difficulties. Those daily shows are being produced on a daily basis, even if an editor could work remotely, he or she would still have to edit pictures that need to be shoot and this can’t be done.
The closing of life must end very very soon and life has to restart again, or 2021 will be a pretty weak year for library music composers. Also for original music composers who had films or tv shows planned that are being delayed at best, and cancelled at worst.
I’m earning $250k a year normally with just library music, but if TV channels line-up dont go back to normal, I’ll be going as low as $40k a year. Catastrophic.
To be frank, I would still have a great life in 2021. But losing more than 100 % of your last year income, is still psychologically difficult.
I see a potential problem when you say « I’m UPLOADING tracks to the library » this sounds terribly uninspired process.
Not from you who probably make great tracks but from the library itself.
Normally a library tells you about a brief, then you propose something, they answer, tell you some comments, then rework and only then potential validation from the library music supervisor. Then only from that point they should ask you for the stems, mixing, and contracts.
Repeat that process for every tracks or every albums that you make for a library. It’s a fairly long process, from the moment you send the track to the final delivery at least 2-3 months, with a good library.
If it’s only uploading tracks to an automatic system then 3 days after the tracks are incorporated in their library you can be 20000% sure your tracks won’t get a single serious usage. Because they probably have so much tracks, they don’t even know what they have in their catalog…
You should work for a library that takes more care in the writing process, it’s a guarantee that your tracks will get usages.