Forum Replies Created
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!
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.
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.April 8, 2021 at 1:58 am in reply to: Submitting to labels that are part of major publishers catalogue #37666
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?July 27, 2020 at 1:49 pm in reply to: Commercial in German TV: they asked for track and composer name? #35478
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.
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?
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.June 9, 2020 at 4:46 am in reply to: Looking for merciless critiques on mixing/mastering #35125
Thanks woodsdenis! 😉June 8, 2020 at 11:52 am in reply to: Looking for merciless critiques on mixing/mastering #35121
yes, they asked me to have the sound of the engine very loud (and I believe they are right, it’s a bike advert).May 20, 2020 at 2:25 am in reply to: Asked to write a song for a video to be shared on a company’s social media #35046
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
– payment method and timingNovember 4, 2019 at 12:35 am in reply to: Reality check: how much $ to expect from YouTube streams #33587
My Pro statements show roughly $80 per 1 Mil streams.
…that’s depressing! Maybe I’d better find a new purpose for these tracks…
I think we’re talking about a sub-publisher actually…
You’re right. Not from those libraries you mentioned
such as trailers are not affected.
funny thing is…this was from a trailer album. Anyway, I thought, since this is a high end library, that sync fees were involved each time a client download and use a track. My mistake…
Ironically, I just received a mail from a library saying:
…Please move your society affiliation to either ASCAP or BMI in the US to avail yourself (and us!) of the ability to direct-license your music worldwide.