TAXI.com

CTWF wrote: ↑

Tue Apr 27, 2021 10:41 am

OwenGrech wrote: ↑

Tue Apr 27, 2021 6:42 am

Hello everyone, hope you are all ok:)

Owen, I am not sure it is wise, but as a German I just opened an account with BMI. Because I don't have any placements yet, I cannot tell you about what the trouble with collecting money could be. But GEMA would have charged me 100 euros one-off and 50 more per year - BMI is for free! Also, I can now submit to those listings which are North American PROs, only.

And, yes, you need to sign up to a PRO to get contracts. Took only a few days with BMI to get it all up and running.

Tom

Telefunkin wrote: ↑

Tue Apr 27, 2021 10:58 am

Hi, and the answer to (1) is easy ... Yes! If you get any contract offers from music libraries they'll expect you already have a PRO, and will want to know its name and the CAE/IPI number that they assign to you.

(2) There are several things to consider here...
- You can join any PRO you think is a good fit (but just one).
- Although Taxi listings might be primarily from US libraries that doesn't mean those library's clients are in the US, so you could still end up with placements anywhere else in the world (including your own country).
- In the long-term you might begin submitting directly to libraries and not via Taxi listings.
- If you join a PRO in your own country it might take a while for royalties from any other country to find their way back to your PRO but at least they'll pay you in local currency.
- If you were to join a US PRO, then the royalties from US broadcasts would probably get there somewhat faster but royalties from placements in other countries probably won't be any faster.
- You'd need to set up some way for a PRO in another country to pay you (ought to be easy but it isn't always).

Kolstad wrote: ↑

Tue Apr 27, 2021 11:29 pm

I really dont think it is neccesary to double register with American PROs as a European. PROs work together on a global scale, and have everything set up. For example, Im with KODA in Denmark, and they work with ASCAP in the US. So if I sign anything with an American publisher, the American publisher can register the work online with KODA in english, or they can just register it with ASCAP in the US, which then coordinates with KODA.

Some have made the claim that backend pays out faster, if you double register, but I can’t confirm this. In this digital age, data really doesn’t move slower because of national borders.

CTWF wrote: ↑

Wed Apr 28, 2021 12:55 pm

Kolstad wrote: ↑

Tue Apr 27, 2021 11:29 pm

I really dont think it is neccesary to double register with American PROs as a European.

I thought that was impossible.

OwenGrech wrote: ↑

Wed Apr 28, 2021 8:48 am

Kolstad wrote: ↑

Tue Apr 27, 2021 11:29 pm

I really dont think it is neccesary to double register with American PROs as a European. PROs work together on a global scale, and have everything set up. For example, Im with KODA in Denmark, and they work with ASCAP in the US. So if I sign anything with an American publisher, the American publisher can register the work online with KODA in english, or they can just register it with ASCAP in the US, which then coordinates with KODA.

Some have made the claim that backend pays out faster, if you double register, but I can’t confirm this. In this digital age, data really doesn’t move slower because of national borders.

Thank you so much for your reply Kolstad. I wasn't thinking of double registering to be honest but rather do one registration with an American PRO instead of a European one but you brought up an interesting point re the backend cause if that causes the cheques to be relatively in time then it might make more sense to register locally.

Rgds,
Owen

Kolstad wrote: ↑

Thu Apr 29, 2021 4:28 am

OwenGrech wrote: ↑

Wed Apr 28, 2021 8:48 am

Kolstad wrote: ↑

Tue Apr 27, 2021 11:29 pm

I really dont think it is neccesary to double register with American PROs as a European. PROs work together on a global scale, and have everything set up. For example, Im with KODA in Denmark, and they work with ASCAP in the US. So if I sign anything with an American publisher, the American publisher can register the work online with KODA in english, or they can just register it with ASCAP in the US, which then coordinates with KODA.

Some have made the claim that backend pays out faster, if you double register, but I can’t confirm this. In this digital age, data really doesn’t move slower because of national borders.

Thank you so much for your reply Kolstad. I wasn't thinking of double registering to be honest but rather do one registration with an American PRO instead of a European one but you brought up an interesting point re the backend cause if that causes the cheques to be relatively in time then it might make more sense to register locally.

Rgds,
Owen

You may want to reconsider that, as you probably would like to apply the laws from the country where you live. If you register in the US only, and publish your work there first, you need to register your works at the US copyright office and use american lawyers, if anything comes up. Not saying it would be a problem, but it can get complicated and very expensive for you, if you at some point need legal advice or representation.

Depending on your country of residence, I actually think it's a lot better to use your local PRO. As noted, everything is set up to work internationally with the PRO's.