(Music Licensing) Patience Is A Virtue

 

Music Licensing - PatienceThis is update #7 of the 90 Day Music Licensing Challenge Case Study. In this update I share my experience with time frames, patience and what you should expect/what you will run into in the licensing world.

 

Things Take Time

It would be great if everything happened when we wanted. If everyone was ‘johnny on the spot’ when it came to our needs and wants, but it doesn’t work that way, at least not for most of us.

 

Music Licensing Professionals (Libraries/Supervisors)

Throughout the challenge I’ve come across different response times. Some libraries got in touch with me the same day I submitted my demo, some within 72 hours and others a month or 2 later. In fact, there are still libraries and supervisors who have yet to give me a response.

I can’t even begin to imagine what their day to day routine consists of.

In the end it really boils down to what the person on the other end has on their plate. If they have time to respond, they will, if not, it could take a while.

In my experience, a follow up email or friendly phone call normally does the trick. You don’t want to annoy anyone, but you do want to follow up from time to time.

 

Song/Track Placements (Supervisors/Libraries)

Most industry professionals you contact will be in the middle of working on projects with strict deadlines. Your priority might be building rapport/getting your music heard.

Their priority is completing project(s) they’ve been contracted to complete. On top of projects, they have a ton of music and emails to sift through. You have to take this into consideration when conversing with libraries and supervisors.

Side note: Just because someone likes your music doesn’t mean they have a use for it.

Music Libraries – Some libraries assist with the pitching of your tunes and others don’t. Regardless of which you’re involved with it comes down to “content colliding with opportunity”. People can pitch your music all day, but if it doesn’t fit, it doesn’t fit.

The same goes for search engine based libraries (like Getty Images/Music). The buyer’s are looking for something specific. If you don’t have what they need, it’s off to the next composer/artist.

In this line of work it’s about what fits best, not who works harder.

 

Collecting Royalty Payments

Performing Rights Organizations are responsible for collecting/sending you royalty payments. Royalty payments are generally paid out every quarter and that’s assuming all the paper work is filed correctly.

I remember someone ranting about PROs because they take so long to notify you about your music once it’s used. I understand the frustration,but there are thousands of accounts that are being handled. It’s much easier to update everyone at the same time.

The more errors/incomplete data submitted to the PROs the longer it takes to receive payments. I’ve been in situations where I’ve waited over a year due to filing errors. It sucks, but it is what it is.

The point I’m trying to make here, is nothing happens overnight, everything has a process.

 

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5 thoughts on “(Music Licensing) Patience Is A Virtue

  1. We are at a tipping point. I have been a member of tunesat for 18 months, and average 60 plays/month on the US TV shows they monitor. SESAC just started accepting tunesat detections to revise their payments, but ASCAP does not yet accept them. ASCAP still relies on manual voluntary cue sheet filing, which is woefully incomplete. But ASCAP is going to have to accept computer monitoring very soon, or risk losing affiliates to SESAC. This development should help us get paid fairly in a timely fashion.

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