Wall_E

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  • in reply to: ISRC, UPC, ISWC for non exclusive tracks #43218
    Wall_E
    Participant

    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?

    in reply to: ISRC, UPC, ISWC for non exclusive tracks #42765
    Wall_E
    Participant

    bump

    in reply to: Reality check — How much can you earn? #42273
    Wall_E
    Participant

    @Music1234 Iā€™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

    in reply to: Moving my whole catalogue to PRS #40612
    Wall_E
    Participant

    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!

    in reply to: Moving my whole catalogue to PRS #40608
    Wall_E
    Participant

    @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.

    in reply to: Moving my whole catalogue to PRS #40575
    Wall_E
    Participant

    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
    Participant

    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
    Participant

    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.

    in reply to: Licensing for TV: audience dimension? #35421
    Wall_E
    Participant

    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?

    in reply to: Licensing for TV: audience dimension? #35418
    Wall_E
    Participant

    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.

    in reply to: Looking for merciless critiques on mixing/mastering #35125
    Wall_E
    Participant

    Thanks woodsdenis! šŸ˜‰

    in reply to: Looking for merciless critiques on mixing/mastering #35121
    Wall_E
    Participant

    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
    Participant

    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

    in reply to: Reality check: how much $ to expect from YouTube streams #33587
    Wall_E
    Participant

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

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

    in reply to: Timing for exclusive releases? #33324
    Wall_E
    Participant

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

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