A few threads have developed regarding the PROs (Performing Rights Organizations), royalty payments, monitoring, cue sheets, etc. I am going to group them here for further discussion.
Music creators rating the music libraries.
A few threads have developed regarding the PROs (Performing Rights Organizations), royalty payments, monitoring, cue sheets, etc. I am going to group them here for further discussion.
Registering with Soundexchange:
As part of the registration process it asks me to upload a copy of a “voided check”. I’m assuming that’s American terminology for something that I would know by another name. What is a “voided check”?
Hey Rob, just a paper check with “Void” written across it. Very “old school”:-)
So a check from my checkbook? Blank except for ‘void’?
Thanks for the help.
Yep, that’s it. Just write “void” in big, bold letters across the face of it.
Thank you.
Hi Guys,
I don’t know where to post this, so I will put it here and perhaps one of you might have some advice….thanks in advance!
I have my own catalog of music that has been distributed to more than a few libraries.
Recently, I started receiving ‘compulsory license requests’ from MusicReports.com on behalf of other companies (such as Apple/iTunes, and Microsoft/Zune) seeking to use my music as part of their ‘music service’.
I assume this involves cheap downloads, which of course is bothering me. The music I write is mostly for corporate videos, etc…..and is licensed for good rates in the libraries….I can’t see how a casual listener might have a use for it. But to pay $1.29 for a song that they can discreetly use in a corporate video? I think most people would do that over paying $$$ for the license.
Any ideas on what I should do?
Thanks for the help,
John
Hi John,
Although I can understand your concern, I wonder how many companies would be willing to take a chance like that. It’s not only the money that they will loose if you find out they’re using your song without a proper license, but their reputation would be on the line as well.
However, if it’s only used within their corporate structure (not online), I can see how it would be difficult to catch it.
Hi,
I have a question regarding PRO’s. I am a UK citizen, and am receiving a fair portion of my placements through US libraries. I am a PRS member, although I have been told that it might be a good longer-term idea to join ASCAP or BMI and simply have my US income and business collected directly by them – avoiding the need for delays having it reach PRS and then PRS paying it.
Does anyone have any advice or feedback or suggestions? I’d be most grateful.
Fantastic forum Art, thanks for your time.
Nick
Hi Nick, glad you like the site. Here’s a great article on this subject. http://www.filmmusicmag.com/?p=3236
Hi Art,
I found the article quite enlightening – however in the comments section – there was a great deal of arguing – with no-one really seeming to favour one PRO over another.
If you are based outside of the US and registered with your country’s PRO, would you say that there isn’t much point in registering with a US-based PRO?
Thanks again!
I think Mark Northam wrote that article and I believe he has registered with foreign PROs. I haven’t done it so I don’t really know.
I can’t seem to get a clear answer on this, especially from BMI (horrendously slow on getting back via email, and futile to call them when all I get is an intern). I have all my songs registered with BMI, but should I register all my alternate mixes, ie, 30/60 second versions, no melody etc. as separate entities? I’ve been told I didn’t have to, but am wondering now. If not, then my work number for each full version song goes with all the alternates??
Thanks for any help.
Register them under “alternate titles” under the original title of the cue. Don’t register them under separate entities, that just creates undo confusion, and confusion costs money.
Hi oontz,
Thanks for the input. I can see doing it this way in the future, but there doesn’t seem to be a way to do this with the past registrations!! For those, is it ok with just the main version having the BMI number?
Mr. Ross,
You should be OK if you name the track TRACKTITLE (30 second mix).AIFF with the TRACKTITLE being the title you originally registered with BMI.
Keep an eye out if BMI cannot reconcile the TRACKTITLE (30 second mix) as opposed to the TRACKTITLE in their system. If the supervisor just lists TRACKTITLE on the cuesheet, then you’re absolutely in the clear.
I wouldn’t worry about it too much, but in the future register the cut downs as alternate titles..I know you know to do that anyway..
As for BMI…try to attend some tv/film music conferences in LA, NY or Chicago. There will be a BMI artist rep there. Get their business card and let them know you’re serious about TV music. Then if you ever have a problem in the future you can call/email them and get it fixed.
Believe me, if you’re doing more than “part time” business in TV music, you’re going to need a BMI rep’s phone number on speed dial. There’s always missing money, missing cuesheets, missing titles etc..
Hope that helps
Hey oontz,
Thanks for the help. Clears things up nicely.
Question about PRO’s…isnt a registered artist supposed to be listed when doing an artist search on the PRO’s page…
Im asking because I dont show on BMI’s page when doing search even though im registered
Did you try searching under ‘Songwriter/Composer’? Most libraries I’ve worked with leave the ‘artist’ section blank.