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Old 1st August 2019
  #18
Gear Nut
 

Quote:
Originally Posted by ehrenebbage View Post
Bummer that you deleted your response to me, but I get that you might rather steer clear.

Hope you don't mind if I paraphrase a bit because I think it would be helpful for folks to understand why this may or may not be a great situation.

Your point re: sub-publishers is totally solid. If a library isn't hustling much on their own, doesn't have global reach, and essentially just funnels music to a behemoth like BMG, composers are really just earning half of what they would if they'd gone directly to BMG in the first place. Maybe less.

Then again, a little company like this might have a niche or a small pool of amazing accounts...in my experience, a small number of tracks with the right small company can earn many times what a larger catalog with a large company might earn. It really depends on variables that are hard to gauge by glancing at their website.

Either way, the terms of this deal are pretty standard. It's the other stuff that will make the difference between good and bad, and it's hard to figure that out without having a conversation and taking a chance.
Yea, sorry about that. You seem like a decent guy from your forum posts (that was in my deleted message, not sure if you saw before it went) and basically yes, the exact terms of the contract are not bad. 50/50 on everything with no up front isn't the worst deal on paper that I've seen.

It's just the other factors mentioned previously which sink it completely for me!