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Old 4th September 2012
  #8
Gear Nut
 
HUFO_2000's Avatar
 

Red face

I agree,
Rather than putting both type of clients together, it would be best to separate them. You are also right that in the US, one of the performance rights organizations is ASCAP, which thankfully I'm a member of .

What I have seen (above) on an exclusive agreement which seems like a good idea to me, is that I would start making any royalties back until the sales of that track reach it's first million. After that, it's 5% (like you said ironically)

So now (thankfully) I'm down to two questions. May have to do some research to find them in detail but:

1. In either case (exclusive or non-exclusive), would I be receiving anything from PRO's (performance rights organizations) since I still own the copyright?

2. Do you think it would be better to try to find a buyer for these tracks first before I offer them up under a non-exclusive/exclusive agreement? Or should I just put them up for grabs? (I think in this situation it might be obvious as of course, if you have the work, why sell your opportunity to attain royalties if you don't have to? But I'm still throwing the question out there).