starting out without any biz wisdom
Posted: Fri Jul 14, 2017 9:00 am
Hi, I’m new. My name is Kathi or Kat for short.
It’s complicated. What’s complicated? Trying to do the metadata stuff, even trying to wrap my brain around it, it seems endlessly convoluted and so since I don’t know the right stuff off the top, I kept searching, researching. I had a simple question to begin with haha. The more I tried to find the answer the more complex, anyway, the original question I had was about whether or not to join a PRO. (duh) Then that turned into, OK, which PRO? in this learning curve I found out about the code packet, the ISRC numbers. OK, so it looks like savvy music biz composers know about these ISRC codes, and the other ones called ISWC. So it looks like an IPI number thingy is another more pertinent ID number if starting out, than any ISRC’s or ISWC’s. OK so I didn’t even know what an IPI was, even though I’ve been writing music for years. When I found out about it, I contacted a successful composer I know and asked her what does one do about these codes and PRO’s and all that stuff. She didn’t know either. She has a PRO, ASCAP, and I suppose they do all the metadata? I didn’t know what to say. Besides “you don’t know?” Someone asked on TAXI tv chat, something like “Do you put the data in before or after something is used?” and the answer was “Yes.” LOL because it looks like really there aren’t rules down on this, maybe because there is no one fixed way to do it.
All this time I’ve been doing this work w/o knowing any of the biz wisdom I think of it like my germination period, all I did was write for a stretch(years), and then finally reached out to a radio station 3 years ago with a collection which got played a number of times. (locally, NPR) And two other dj’s in other states and places contacted me. My point was to do music for visuals (tv, etc etc etc) so I realized I wasn’t going to get there through radio play directly, not that I wouldn’t welcome radio exposure. But I didn’t know any of the legal stuff you have to do. I joined Taxi a few months ago because of the incredible opportunities and thinking that this would kind of force the issue:)= and it has.
Here’s what I have so far:
1. Join a PRO and get an IPI number
2. Don’t go nuts over copyright
3. Submit some work
4. Forget about it
5. Keep working
6. Assign your ISRC’s or ISWC’s or have them assigned by a publisher if anything gets signed -
It depends on the situation overall-more research needed
7. Repeat
So I am researching the diff’s between ISRC’s and ISRW’s and who does what where for future reference
So, would you agree that the only thing for me to do right now besides getting my act together to submit is to join a PRO?
If I don't join a PRO until something is used does that work? If I didn't have a PRO would a potential publisher not want to deal with me? Or would they push that through just to get on with business?
Thanks for your time - these are probably the dumbest questions but anyway, best wishes,
Kat
It’s complicated. What’s complicated? Trying to do the metadata stuff, even trying to wrap my brain around it, it seems endlessly convoluted and so since I don’t know the right stuff off the top, I kept searching, researching. I had a simple question to begin with haha. The more I tried to find the answer the more complex, anyway, the original question I had was about whether or not to join a PRO. (duh) Then that turned into, OK, which PRO? in this learning curve I found out about the code packet, the ISRC numbers. OK, so it looks like savvy music biz composers know about these ISRC codes, and the other ones called ISWC. So it looks like an IPI number thingy is another more pertinent ID number if starting out, than any ISRC’s or ISWC’s. OK so I didn’t even know what an IPI was, even though I’ve been writing music for years. When I found out about it, I contacted a successful composer I know and asked her what does one do about these codes and PRO’s and all that stuff. She didn’t know either. She has a PRO, ASCAP, and I suppose they do all the metadata? I didn’t know what to say. Besides “you don’t know?” Someone asked on TAXI tv chat, something like “Do you put the data in before or after something is used?” and the answer was “Yes.” LOL because it looks like really there aren’t rules down on this, maybe because there is no one fixed way to do it.
All this time I’ve been doing this work w/o knowing any of the biz wisdom I think of it like my germination period, all I did was write for a stretch(years), and then finally reached out to a radio station 3 years ago with a collection which got played a number of times. (locally, NPR) And two other dj’s in other states and places contacted me. My point was to do music for visuals (tv, etc etc etc) so I realized I wasn’t going to get there through radio play directly, not that I wouldn’t welcome radio exposure. But I didn’t know any of the legal stuff you have to do. I joined Taxi a few months ago because of the incredible opportunities and thinking that this would kind of force the issue:)= and it has.
Here’s what I have so far:
1. Join a PRO and get an IPI number
2. Don’t go nuts over copyright
3. Submit some work
4. Forget about it
5. Keep working
6. Assign your ISRC’s or ISWC’s or have them assigned by a publisher if anything gets signed -
It depends on the situation overall-more research needed
7. Repeat
So I am researching the diff’s between ISRC’s and ISRW’s and who does what where for future reference
So, would you agree that the only thing for me to do right now besides getting my act together to submit is to join a PRO?
If I don't join a PRO until something is used does that work? If I didn't have a PRO would a potential publisher not want to deal with me? Or would they push that through just to get on with business?
Thanks for your time - these are probably the dumbest questions but anyway, best wishes,
Kat
Everything I have is dated, I have the copyright, formally registered or not but I don't want to worry about it. Like you say, the actual work is the important thing. So I am inspired now, thanks so much!
Casey