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How steady are your royalties? Audio Interfaces
Old 25th December 2016
  #31
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ChrisNunchuck's Avatar
which libraries?

Quote:
Originally Posted by jazz4 View Post
Hey guys,

I'm just curious about the stability of your royalty income. This year my royalties alone have increased to a living wage, (not a particularly luxurious living) but a living. This is basically all higher end library work.

I'm wondering how reliable they can be long term. Are there any of you here that have so much content out there that you consistently earn above a certain amount in royalties yearly, or are there ludicrous peaks and depressing troughs?

I'm well aware how unpredictable they can be, and I'm not asking for any figures, but I'm still curious how sustainable they are from your experiences.
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I would like to ask which are the higher end libraries that regularly place content?
Old 25th December 2016
  #32
Quote:
Originally Posted by old ghost View Post
2016 hasn't been as good as 2015 to me and I have about four times as many tracks in circulation. Just bad luck I guess... hoping for a better year in 2017.

Edit- I'll add that aside from the odds side of it, I also didn't do the best job of mixing up my avenues. I was hoping to branch out and find some new libraries that were good fits and ended up with several dead ends and time wasted. Onward to the new year.
Yeah, some shows dropped off for me so my royalties were low for the year. It sucks. I have to keep putting more stuff out there and let these new cues get placed in shows that will be broadcast over and over.
Old 27th December 2016
  #33
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drBill's Avatar
Quote:
Originally Posted by ChrisNunchuck View Post
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I would like to ask which are the higher end libraries that regularly place content?
My experience shows non-ex libs can place content just as well or sometimes better than "higher end" libraries. Just my personal experience. When you think you've got it figured out,,,,,,reality rears it's head and you realize you're just beginning to understand what you thought you knew cold......

High End does not necessarily AUTOMATICALLY equate to large back end royalties.


PS - as to the original question and comments on growth - when your royalties are just starting to grow, it's easy to get 100% growth a year or more. I was averaging 65-80% growth PER QUARTER for several years when I was hitting things hard. Then things flatlined after awhile - now - when growing - growth averages out to be around + 6-8% or so. That is unless they go down. For a while about 6 years ago, BMI dropped to roughly 50-60% of what it was paying out and took years to get back up on it's game - hurt composers pretty bad. Seems healthy and fairly consistent now, but who knows. The elephant is in the room, and I'm waiting for the proverbial shoe to drop.....

On a related note, according to a consortium of publishers I know, ASCAP is paying 38% LESS than what BMI pays for same show, same time, same usage. (Figured out by a group of co-operating publishers with multiple co-writers cross referenced against multiple tunes that were aired on network and cable by aforementioned publishing co's.) That's a rough blow for TV writers on ASCAP. Most publishers in that consortium are trying like crazy to pull their ASCAP writers out of ASCAP.
Old 27th December 2016
  #34
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Quote:
Originally Posted by drBill View Post
Most publishers in that consortium are trying like crazy to pull their ASCAP writers out of ASCAP.
38% is significant. Perhaps Ascap may do better on Performance rights?
Old 27th December 2016
  #35
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drBill's Avatar
Not sure what you mean by "performance rights". TV broadcasts ARE performances.
Old 28th December 2016
  #36
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Forgive my Noobiness if Im off base, but I was referring to a "synchronization license" that would be used for syncing music to picture vs performance rights in the case of of music being played on the radio or digital streaming.
Old 28th December 2016
  #37
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Quote:
Originally Posted by ChrisNunchuck View Post
Forgive my Noobiness if Im off base, but I was referring to a "synchronization license" that would be used for syncing music to picture vs performance rights in the case of of music being played on the radio or digital streaming.
Picture, radio, and streaming are all "performances".
Old 28th December 2016
  #38
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Jeff Hayat's Avatar
 

Quote:
Originally Posted by ChrisNunchuck View Post
Forgive my Noobiness if Im off base, but I was referring to a "synchronization license" that would be used for syncing music to picture....
ASCAP, BMI, etc. have nothing to do with that part of the business.

Cheers.
Old 28th December 2016
  #39
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Quote:
Originally Posted by Jeff Hayat View Post
ASCAP, BMI, etc. have nothing to do with that part of the business.

Cheers.
Do any of the above PRO's collect a form of MCPS royalties?
Old 28th December 2016
  #40
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Quote:
Originally Posted by jazz4 View Post
Do any of the above PRO's collect a form of MCPS royalties?
No. They only collect performance royalties - not mechanicals.

PRS (U.K.), on the other hand, does collect mechanicals.

Cheers.
Old 28th December 2016
  #41
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Quote:
Originally Posted by Jeff Hayat View Post
No. They only collect performance royalties - not mechanicals.

PRS (U.K.), on the other hand, does collect mechanicals.

Cheers.
Yeah, PRS collect mine. How do you get yours?
Old 28th December 2016
  #42
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Jeff Hayat's Avatar
 

Quote:
Originally Posted by jazz4 View Post
Yeah, PRS collect mine. How do you get yours?
Mine - what? Mechanical royalties? I do not have any.

Where are yours coming from?
Old 28th December 2016
  #43
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Quote:
Originally Posted by Jeff Hayat View Post
Mine - what? Mechanical royalties? I do not have any.

Where are yours coming from?
As far as I'm aware, the mechanical royalty includes sync rights, here. A couple libs I work for print physical CD's too. I thought it was the same in the U.S.
Old 28th December 2016
  #44
Mrx
Gear Addict
 

I think mechanicals are collected by MCPS in UK. All this confuses me greatly. I personally receive sync fees from the libraries I work with and then additionally I
get payments from time to time directly via MCPS. Not a lot of money directly. The most I've received was enough to pay a months rent. The least has been enough to buy a cuppa tea.
Old 28th December 2016
  #45
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Jeff Hayat's Avatar
 

Quote:
Originally Posted by jazz4 View Post
As far as I'm aware, the mechanical royalty includes sync rights, here.
As far as I'm aware, the mechanical royalty and sync fees are two different and separate things, here.

Not sure what "sync rights" is, tho.... unless "mechanical royalty" and "sync rights" are really the same thing? In the U.K., I mean....

Quote:
Originally Posted by jazz4 View Post
A couple libs I work for print physical CD's too. I thought it was the same in the U.S.
Hmmm - I have to look into that!

Anyone else here in the US get mechanicals for library-printed physical CDs?
Old 28th December 2016
  #46
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Quote:
Originally Posted by Mrx View Post
I think mechanicals are collected by MCPS in UK.
I think they are collected by PRS, whereas MCPS has given PRS the ability to do so on it's behalf.

Cheers.
Old 28th December 2016
  #47
Mrx
Gear Addict
 

Quote:
Originally Posted by Jeff Hayat View Post
I think they are collected by PRS, whereas MCPS has given PRS the ability to do so on it's behalf.

Cheers.

You could be right. I still find the difference between the two a little confusing.
Old 29th December 2016
  #48
Gear Head
 

There is a thread about mechanical royalties, some good info in there:

https://www.gearslutz.com/board/musi...y-society.html

Everybody who has placements on TV shows airing in Europe actually earn mechanical royalties too, not just performance royalties. Apparently, it can be significant money, so I suggest to look into that.
Old 29th December 2016
  #49
Thumbs up How true...

On a related note, according to a consortium of publishers I know, ASCAP is paying 38% LESS than what BMI pays for same show, same time, same usage.

How true Dr. Bill.... I switched from ASCAP to BMI twelve years ago and almost immediately started to get higher revenue from them.
Old 15th January 2017
  #50
Gear Nut
 

Has anyone in here with a large catalogue had experience with switching from ASCAP to BMI?

I have a large body of work -- many shows, multiple seasons -- and am wondering how difficult it would be to switch all of that from ASCAP to BMI. It would mean migrating/revising hundreds of cue sheets, so I'm not sure how possible it would be. Seems very daunting.

My royalties with ASCAP have been very good (both domestic and international) , but a couple people have mentioned this higher BMI pay out to me so I'm curious if I'm missing out on something.

A couple people told me that BMI pays out higher for cues with Vocals, but not sure if that is also true of cues with nonvocal cues.
Old 15th January 2017
  #51
I switched from ASCAP to BMI in 2004.... A friend whom I was working with in TV at the time told me they did a better job of tracking the broadcasts and put me in touch with someone from nashville... Up to that time, I was having problems with ASCAP... Ironically because ASCAP had to do spring cleaning when it started to close my account, my revenue started to rise. For a few years I was getting checks from both places during the shift to BMI. Bottom line... I noticed immediately that my revenue went up significantly with BMI and I have been very happy with them since....
Old 15th January 2017
  #52
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Totally and unpredictably volatile, they go from momentarily turning me into an affluent dandy to absolutely nothing. I'm with PRS.

Last edited by microwave; 16th January 2017 at 06:45 AM..
Old 15th January 2017
  #53
Damn I'm such a sucker. I really should've spent less time in film and more time writing for libraries. I'd kill to have residual income like that. To be fair though, I find film work highly rewarding (then again, free $$ is also highly rewarding goof)

Sucks to have to actually work for a living :face palm:

Oh, and to answer your question, highly volatile. My bread and butter is film work though so it really doesn't matter, and it is quite nice to get a completely unplanned check from BMI (which is great btw, a pox on ASCAP).
Old 18th January 2017
  #54
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Which libraries do you consider high end???
Old 18th January 2017
  #55
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Quote:
Originally Posted by FoxMulderFBI View Post
Which libraries do you consider high end???
The ones that make the most money on a per track basis
Old 18th January 2017
  #56
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Quote:
Originally Posted by livide View Post
The ones that make the most money on a per track basis
And those are...?

Never understood such secrecy and writing in codes!
Old 18th January 2017
  #57
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drBill's Avatar
Quote:
Originally Posted by Philososaxter View Post
Damn I'm such a sucker. I really should've spent less time in film .
Or more time writing for a composer who will put our name down on cue sheets.... Been there, done that, not going back anytime soon.
Old 18th January 2017
  #58
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drBill's Avatar
Quote:
Originally Posted by FoxMulderFBI View Post
Never understood such secrecy and writing in codes!
It's part of the initiation process. We are bound by the brotherhood,,,
Old 18th January 2017
  #59
Gear Maniac
 

Quote:
Originally Posted by FoxMulderFBI View Post
And those are...?

Never understood such secrecy and writing in codes!
Do you want me to list them out for you? There's plenty of info on here and other sites. Plus, they've been listen out a bunch of times on THIS here forum. If you use the search function for 5 minutes you're bound to find what you're looking for.
Old 18th January 2017
  #60
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Quote:
Originally Posted by FoxMulderFBI View Post
And those are...?

Never understood such secrecy and writing in codes!

Something to remember, is that a "high-end" library for one composer may not be for another. In fact, sometimes libraries that you think will make you a lot don't make any placements at all.
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