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Am filling out the ASCAP membership form. It asks if she wants them to "collect & distribute digital audio rights"Also are most people members as writers or publishers or both?What are your thoughts on this organization?

Quote:Am filling out the ASCAP membership form. It asks if she wants them to "collect & distribute digital audio rights"Also are most people members as writers or publishers or both?What are your thoughts on this organization?Hi Slim!I'm not sure about the digital audio rights thang. Maybe Matto can answer that when he gets back from skiing. I'm an ASCAP member as both a writer and a publisher. Since I don't write pop music any more, ASCAP has been nice enough to give me a "Standards Panel Award" annually for my symphonic compositions. It's not a lot of $$, but it's good for the ego!I don't have any gripes with ASCAP. Plus, they have VERY cheap instrument insurance!Ern

Hi,Anyone that has (or is going to have) music played in a public domain somehow, somewhere, is either going to be a member of ASCAP or BMI (here in the US, at least). Forum threads miles long can be generated with the ASCAP vs BMI question. From what I can tell, it really doesn't matter and you only have the two choices anyway (US). Plus it's not like Alicia Keys or U2 were "uninformed" when they became ASCAP members. Good enough for them, good enough for anyone really. I'm a member of BMI because ASCAP was too many letters to remember. If one of Jessica's songs gets placed directly into television (something on the WB for example) say, through, a Taxi listing and she's only a member as a writer, then 50% of the total payout for that royalty will never get paid (no publisher, no one to pay royalties to). I don't see any downside to being both a writer and publisher member. The potential downside to not being a publisher member is loss of royalties. If Jessica becomes famous she'll have her own publisher anyway and it won't matter.I don't know about the digital audio rights question, so my answer is DUHHHH... DavePS - I might add that none of this matters until one of her songs gets into a domain covered by PRO's. You can always get all of your signing up done when (not if) that happens.

"PS - I might add that none of this matters until one of her songs gets into a domain covered by PRO's. You can always get all of your signing up done when (not if) that happens. "What do you mean here Dave?

"I'm an ASCAP member as both a writer and a publisher. Since I don't write pop music any more, ASCAP has been nice enough to give me a "Standards Panel Award" annually for my symphonic compositions. It's not a lot of $$, but it's good for the ego!"That sounds really great! How does it work Ernstinen?

The digital thing is pretty new. I think it makes sense to have them collecting that too since it's going to be a growing source of income in the future.My choice to sign up with ASCAP was based on 3 years of working in the office of a nightclub. We regularly got invoices from both ASCAP and BMI. However, BMI never made any effort to collect other than a quarterly invoice whereas ASCAP was much more aggressive with their collections. Consequently our company paid ASCAP but BMI was always on the back burner when it came time to stretch the thin budget.

A very good reason to select ASCAP!Glad you shared that.One reason I picked ASCAP for Jessica is because if you use your number you get a nice discount at Musicians Friends and likely other musical "stuff" suppliers. Now that I am a genius at Protools..you never know what additional equipment I may want to buy to round out my erhem "studio"BMI may do that too..but I dont know..just know a friends ASCAP number worked on my purchase.

Quote:If one of Jessica's songs gets placed directly into television (something on the WB for example) say, through, a Taxi listing and she's only a member as a writer, then 50% of the total payout for that royalty will never get paid (no publisher, no one to pay royalties to). Actually, with Bmi, if there's no publisher the writer(s) get paid the entire 100% of performance royalties. Not sure if Ascap does this as well...

Quote:"I'm an ASCAP member as both a writer and a publisher. Since I don't write pop music any more, ASCAP has been nice enough to give me a "Standards Panel Award" annually for my symphonic compositions. It's not a lot of $$, but it's good for the ego!"That sounds really great! How does it work Ernstinen?You have to write alot of music and apply for the award. If you have performances and/or recordings during the previous year by orchestras, they take that into consideration for an award.My newest piece, "Elegy," will be released soon on the ERM label. It was recorded by the Kiev Philharmonic in October.Woo Woo! Big $$$! (Not). Anyway, it will be good to hear it performed by professional musicians. --- I'll let you guys know when it comes out.Ern

Quote:Actually, with Bmi, if there's no publisher the writer(s) get paid the entire 100% of performance royalties. Not sure if Ascap does this as well...Ahhh! That's what I love about these boards is getting stuff like this straightened out. Of course that makes sense but I think the general conception out there is that you have to be both a publisher and songwriter to get all royalties. I met quite a few Taxi people at the rally that are writer and publisher members for that reason (which is where I got that notion).Always glad to get the real scoop.Thanks!Dave