CONTRACT

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[ochaim]

with respect to libraries, a blanket license is paid by the production company for the sync and master use of the catalogue.

with respect to PRO’s, the so called blanket license is a public performance license paid by the broadcaster to the PRO, where the cost is based on their business’s details and metrics.

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[ochaim]

[quote=ochaim post_id=611101 time=<a href="tel:1697143096">1697143096</a> user_id=100725]
a blanket license is paid by the production company for the sync and master use of the catalogue.

yes another complication as in who is paying which license fee and for what

ie the prod co, the ad agency, the station
[/quote]

i think i answered who pays what, no?

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[ochaim]

sort of, I'm still going back/referring to my original question to Mark about paying sync fees and the public broadcast fee to the PRO/PRS at the same time as apposed to paying sync fees and library/SA license fees for use of their catalogue at the same time

or maybe I am not explaining that properly

also what does the public broadcast fee offer the station in regards to use of famous or not so famous music verses what does a sync fee offer a station in regards to use of famous or not so famous music

others have explained this already.

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[Casey H]

It can be confusing.

There are 2 main sources of revenue for our music in Film/TV.

(1) Up-front sync fee. A one time payment for allowing your song to be synchronized to video in a TV show, movie, video, etc. If this is through a library, they will collect that fee and pay you (usually) 50%. If it is direct from you to the production company/music supervisor, you get 100%.

(2) Back-end performance royalties paid to you directly from your PRO. When ANY entity-- TV show, movie, restaurant/bar (e.g. live gigs), concert venue, etc. publicly plays or performs a song, they are required to purchase a licenses with the applicable PROs. This is where PRO money comes from. Libraries don't have to collect your PRO money as they register your song with your PRO with themselves as the publisher and you as the writer. The rest goes on autopilot-- they get the publisher's 50% and you get the writer's 50%. If no library involved, you would register the song yourself and get paid both shares.

As discussed earlier, blanket licenses are where a production company pays a library one fee for access to a large volume of tracks. In most cases, the writers get little or no share of that fee. However, back end PRO money can sometimes be lucrative and well worth it.

Sync agencies act very much like music libraries. Some are exclusive, some non-exclusive. They generally get 50% of sync. Some allow you to keep 100% of PRO (you collect the publisher's share), while some to the standard 50/50 on PRO as libraries do. In most cases. sync agencies are even more selective than libraries and pitch to higher bar opportunities. All their placements earn a sync fee.

The way people get paid for their music in film/TV is the same whether a famous person or not. The difference in the the amount of money involved. Famous artists can command much larger sync fees. The back-end PRO payments are the same, based on formulas for what network, what show, time of day, length of play, featured or background, etc. However, productions that use a famous person's music are more likely to be in the most major networks, prime time, longest plays, etc. And while in the US, we don't get PRO money for movies playing in theaters here, in other countries there is PRO payment for that and we get paid for overseas play. Again, a famous person's song might be more likely to be used in movies that get played all over the world and hence, earn more money. But no one at the PRO is saying, "Oh this is Taylor Swift, pay her $$$$$$$" and "This is Casey, pay him $$".

It's important to understand the money sources, where the money comes from, etc. and forget all this "famous person" stuff.

When a song is used in a video production (TV show, etc), the production company is required to file a cue sheet with the PROs that lists all the music used, length of play, type of use, writers, publishers, etc. The PRO license and cue sheet filing is what makes the performance royalty world go round.

As an aside, I have a cue sheet on which a Bruce Springsteen song and mine both appear. In other words, both our songs where used on the show. We get paid PRO money by the same formulas.

I may have jumped around a little but I hope I got it all out there. Corrections by knowledgeable folks welcome.

HTH
Casey

[cosmicdolphin]

This is how it work in the UK but you can apply this to other countries

[Raincoat]

Guys, too many words, do you really think this is a business? This is the question I want a definite and concise answer to. Talk to me as businessmen, not just as musicians.