Music Licensing Archives - Page 2 of 2

Latest Film/Music TV Survey

Ever wondered if what you’re getting paid for your film/tv/game tracks are commensurate with what’s being paid in the industry in general?

I’m definitely sure I’m NOT getting paid enough, or at least for ALL my placements. With TuneSat and some better ASCAP reps now in arming me with the technology and power I need to hunt down those ever-elusive back end royalties, hopefully that’s changing.

Here’s the latest 2011-‐2012 edition of Film Music Magazine’s Salary and Rate Survey, with data current as of June 2011. They compiled this information based on “extensive research, interviews and information gathered from professionals throughout the film and television music industry.”

DownLoad Here

Writer gets back music rights after all these years

Great piece about songwriter from the Village People, who has finally terminated a publisher’s rights to his music.

“When the Copyright Act amendments went into effect in 1978, it meant that songwriters could terminate copyright grants to publishers and record labels 35 years later. If they were to do so, however, they need to send their termination notices not fewer than two or more than 10 years from the intended termination date. The result is that 2013 is the first year in which musicians can effectuate a termination notice, and a number of them who created works in the late 1970s are now under the clock to do so or forfeit the right for the foreseeable future.”

http://www.hollywoodreporter.com/thr-esq/village-people-ymca-lawsuit-victor-willis-321576

Good Article on Approaching Music Blogs, Writers, and Other Music Press

This article has some great tips, in particular, how to pitch a unique story (you as the unique individual). In my case, I have the advantage of the still commonly-held view that women doing anything technical or with making beats is “unusual” and not a part of our DNA. Hogwash!

I also agree that keeping the story local (although Los Angeles is hardly a small town) is good, and as is being very specific about how you approach each person (and don’t spam them with follow up emails!)

Tunesat Update

Just a quick note to say how pleased I am so far with Tunesat. In only a month’s time, the software has already brought up 50 detected instances of my music on TV. Excited to announce a few new networks I’m on now, like FUEL and Comedy Central!

The majority of the instances are for my song “5 Reasons Why”, which got licensed to Tria Laser for an informercial. That sucker is airing constantly all over the place! I think we can look forward to some nice backend royalties for that! I’ll have to get on the horn with Lynne Enman from ASCAP about 6 months from now to document everything…

Exclusive vs Non-Exclusive Contracts with Licensing Companies

Exclusivity in contracts with licensing partners is something I am nervous about. It’s a tough call, because the “re-titling” process is looked down upon, but offers me more flexibility to proliferate my music (although I’m careful to limit things so that I am not “spamming” myself everywhere). At the same time, I think I have seen (well-established) companies work harder and the monetary rewards bigger with exclusive situations. For example, I have a couple partners (Harpo, Musikvergnuegen) that
compensate me upfront for writing tracks for them, then the arrangement is that they exclusively own those tracks but I collect
the writer/performer royalties for my lifetime. Both companies have been doing GREAT with getting the tracks placed a lot and lots of revenue coming to me (both from front end licensing fees and back end royalties). However, a few other exclusive deals I had amounted to nothing and I had to work hard to end those contracts…some really good tracks “went to waste in hiding” in my opinion, for several years while a company tried to get its operational ducks in order, etc.

Welcome comments about your experiences and opinions!

Competitrack to the Rescue

If you think that ASCAP has records on hand of all your music being used on TV commercials, and are PROACTIVELY working on getting you those back end royalties….THINK AGAIN. Also, don’t expect any companies you work with that license your music to be tracking that stuff carefully either.

Now I can only say great things about the folks at ASCAP that handle that stuff…ONCE YOU HAVE GATHERED ALL THE EVIDENCE AND CONTACTED THEM. That means, the invoice sent to client and commercial promo checklist (both of which you can acquire from the company that licenses your stuff, if you don’t do it directly yourself), an mp3 of the song used, all the ifo about the registered title on ASCAP (the track ID, your member #, track name, etc) and finally…

I’ve been using a site called competitrack.com. They are amazing! If you know the advertiser/product (in my case, Aquafresh Whitening Trays) and the approximate time period in which it aired on TV, you can do a search for the commercial and watch :15 second video clips. Within minutes I found my track and the reports showed that it aired 4,000 times.

I turned in these reports along with everything else to ASCAP, and followed up weekly with an email/phone call to check on progress. As a result, ASCAP finally confirmed everything and deposited 7K into my bank account. That’s right. $7,000.

I have about 5 other cases open with ASCAP, one of which is confirmed and will be paid out in the next distribution Jan 4th.

So make sure you get all the details from your licensing partners! It’s “found money” for both them and you, so they shouldn’t be resistant in the least when it comes to getting you all the documentation you need.