[Wall_E]

You’re right. Not from those libraries you mentioned

[Wall_E]

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…

[Wall_E]

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.

[Wall_E]

What about SESAC? From what I know, it’s the only PRO that is considering Tunesat detections…

[Wall_E]

bump 🙂

[Wall_E]

I really appreciate your feedbacks but, actually, this wasn’t meant to be a post about “ASCAP or BMI”.

My question was about this: is moving to ASCAP or BMI a mandatory move in 2019 to take in order to proceed in this career and to be more “attractive” to big big libraries?

[Wall_E]

Hey there colleagues,

can anyone shed some light on Source Audio? Why is it different/better compared to TuneSat or Numerator?

Thanks 🙂

[Wall_E]

I bump this old thread of mine because today I was talking to a composer and this old issue came out again…and again…and again.

He said to me that if I give a track to a RF library it’s prohibited to deposit this track to my PRO. This is still totally non-sense to me since Royalty Free does not mean Free from Royalties if I’m not wrong. What if this track ends upon a movie that goes on TV? I can say byebye to back-end royalties!

[Wall_E]

Solved! ASIO4All driver missing.

[Wall_E]

Hi!

He tried everything you metioned but the problem still remains. I thought it might be related to the soundcard (internal).

ASIO4ALL driver missing maybe?

[Wall_E]

Here I am with a little update: apparently, the track was sold with a buyout license for all media, in perpetuity and worldwide. According to the library “there are not additional royalty earnings except in TV broadcast use situations which can generate performance royalties related to public performance”.

…thoughts?

[Wall_E]

what GEMA would charge for this sync license?

This would be very interesting but I don’t think there’s an easy way to figure it out.

Ask what it’s end use is? A film? A TV show? an advertisement? If an Ad, How big is the brand? How big is the media buy?

They say 131’000 DVD with this “54 seconds” track I composed (purchased via a non-excl music library)

They are basically asking you if you have negotiated a direct sync fee, as GEMA is asking you to confirm.

I think that’s not 100% accurate, MichealL: my PRO is asking me if I’d rather negotiate the synch fee by myself, or if I allow GEMA to decide fee according to their method.

[Wall_E]

What is encouraging you to continue with a third album?

This is a good question…never thought of it that way. 😉
I thought that 1 full year with 20 songs was not enough time to understand how things are going with them. But, as I can see by the answers here, I think I might be wrong.

Anyway, to date, not a single sell (unlikely other non-excl libraries).

[Wall_E]

Thanks everybody!

So, the split is 50/50 for both backend and sync.

I already have 2 albums with them but it’s too early to speak about statistics…I gave them only 1 year ago. This makes difficult to evaluate their ability to place my music or if I am a good match for them.

[Wall_E]

Hey BEATSLINGER could you please elaborate a little bit more on this? How can one use a PRO to get into top notch libraries?
I was also interested in the Music Attorney thing…the problem is how/where to find a good one locally! 😉

[Author]

Posts