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Old 6th September 2019
  #2
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Quote:
Originally Posted by casnc View Post
Hello friends...

So I had a unique (to me, at least) situation come up with a well-established (who will remain nameless) library this week. I was set to start working with them, we had initial talks, all went well, and then when I gave them my PRO information (I'm with SESAC) they said they couldn't work with me because of SESAC policies regarding blanket deals (they do quite a bit of reality TV stuff, which is where a lot of my tracks fit). They said they would be willing to work with me if I were to switch PROs, but their library wasn't willing to step outside of ASCAP/BMI writers for now. I was able to get info from SESAC that verified they negotiate the same rates and blanket deals as ASCAP/BMI, but this didn't change the stance of the library.

I've since considered switching to BMI, but I'm wondering if its a good idea. I've been with SESAC for quite a bit of time (more than a decade), and I have quite a few registered tracks and tracks that are pending registration with a number of libraries that would be registered with SESAC. I'm concerned if I were to switch what would happen to those tracks. Additionally, this situation made me wonder if there was some sort of unspoken bias toward SESAC writers at libraries and networks, or if this situation was an outlier.

For what it's worth - this library has a HUGE amount of tracks in their catalog and they get thousands of placements a year, so it didn't strike me as a sketchy situation, but it was certainly surprising to me.

Any feedback, advice or thoughts are welcomed. This was certainly unique to me...
That's bizarre. I'd check that again as there shouldn't be any issues with SESAC and music libraries. Maybe you said SESAC, but they heard GMR? Or maybe the library just has a really bad relationship with SESAC? I've not persoanally heard of anything like this before and SESAC has been around in the library, news, and production world for a long time.