[Wall_E]

Thanks a lot.
I still would like to understand better how obtaining ISRC codes for my non-exclusive music (not via a distributor since I don’t want to upload these tracks to Spotify or other DSPs) would benefit me in terms of income.

Neighbouring rights?

[Wall_E]

bump

[Wall_E]

@Music1234 I’m curious to know why you think that n.6 is important for a non-exclusive catalogue.

What advantages would you have in distributing your non-exc tracks in order to obtain those numbers?

Thank you

[Wall_E]

There is also the mechanical side of things to consider.

If I’m not wrong, if I join PRS I can join MCPS as well to collect mechanicals, while if I join BMI is not so clear…at least for me!

[Wall_E]

@Dannyc,

can you elaborate a little bit more please? It would be interesting to know why they decided to move to BMI. A publisher I work for that is located in America, just told me the exact opposite!

@Tbone yeah, but I guess nowadays it won’t be a problem for them if I have an Italian bank account. Anyways I’ve found out that regarding taxes, when applying as an overseas member, I will be provided with a tax exemption form which means I will not be taxed in the UK, only in my country of residence.

[Wall_E]

HI Tbone,

I’ve asked a couple of colleagues that are in PRS but they weren’t able to answer to some of my questions.

Questions 1) and 6) a particularly important.

[Wall_E]

When I submit to these types of libraries I like to do some research on a specific label and see if they have their own site with contact info. It is definitely a better strategy than submitting to the generic emails

That’s what I’m saying and that’s what I am already doing. Despite my efforts, most often I don’t seem to find any website, email, name, linkedin page, facebook page etc,

Are there any strategies I’m missing here?

[Wall_E]

Alright. I was misled by “only if music is GEMA liable”. Thought it was referring to “only if you are a german composer represented by GEMA.

[Wall_E]

Some of my recent examples;

BMW National radio paid 5K

Delta Faucets/ Amazon / Alexa Co-op paid 7K for the license (airs mostly on cable)

$2000 Jingle for a seed company airing in Minnesota Only on radio

Those prices are what you asked directly to the ad agency or what the library you have the track with asked?

[Wall_E]

Thanks Mark, so you say libraries usually determine their TV-licensing price according to just “territorial coverage”?

This morning they told me some libraries, during the process of buying the track and establishing the price for the license, asked them to define the “size” of the expected audience in the TV channels. That information is quite hard to imagine I guess…that’s the reason of my first post.

[Wall_E]

Thanks woodsdenis! 😉

[Wall_E]

Thanks Mike,

yes, they asked me to have the sound of the engine very loud (and I believe they are right, it’s a bike advert).

[Wall_E]

I’ve done hundreds of commercials for companies.
My advice is to ask them to sign a documents where you clearly report at least:
– number of tracks and/or edits
– deadlines for each track
– number of revisions
– media of distribution (worldwide, local area…)
– exclusivity/non exclusivity
– in case of exclusivity, the period of time of exclusivity
– budget
– payment method and timing

[Wall_E]

My Pro statements show roughly $80 per 1 Mil streams.

…that’s depressing! Maybe I’d better find a new purpose for these tracks…

[Wall_E]

I think we’re talking about a sub-publisher actually…

[Author]

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