[Fmpro] FMN JobWire Posting

[kirbyko3@aol.com]

I don't understand why you think it would be OK for the library to keep 100% of the sync fee. That's called donating.??Of course many libraries don't pay you up front, but they DO give you 50% of the sync fees that they get.

It's on this list, many times, that I've read things about how music libraries are bastardizing the industry and often doing terrible things such as not sharing the upfront sync fee with the composer and making them work for the paltry performance royalties that they MIGHT get if it's lucky enough to land on a PRO's survey.



I don't think FMN should be advertising a posting like that. You're legitimizing the argument that it's OK for a library to keep 100% of a sync fee.?There are many great libraries out there right now, Pump Audio being an excellent example, that split the sync fees they get, and they also have a non-exclusive license agreement with their writers.??? 

My feedback:? postings like that should be rejected, along with a stern and punitive "Your business model isn't helping anyone." 

kerry


-----Original Message-----
From: Mark Northam <mnortham at gmdgroup.com>
To: fmpro at nxport.com
Sent: Wed, 29 Aug 2007 5:23 pm
Subject: Re: [Fmpro] FMN JobWire Posting




Not a typo, but no donating!

The library you mentioned does not purchase or own your music, it only has a
nonexclusive license to market it. In this case, the library has 2 customer
bases - industrial/music-on-hold, and broadcast. For
industrial/music-on-hold clients where there will likely be no performance
royalties generated, the library does a split of the sync fee with the
composer. For broadcast clients, the library keeps the sync fee but the
composer, who still owns the music, gets all the performance royalties
generated from it.

Given that some libraries today for broadcast clients both keep the sync fee
AND the publishing side of performances royalties, this deal is not too bad
in my view, but I'm open to any comments/feedback as always.

Keep in mind with the proliferation of new "renaming" libraries, little or
nothing is usually paid up front for the right to rename the cues and try
and market them, as opposed to traditional music libraries who may pay a few
hundred dollars up front for a cue when they purchase the copyright from the
composer. Both types of deals have their own advantages from what I can see.

Mark Holden coined a great phrase in a discussion we had about renaming
libraries - "If I were Coke, I'd want my soda in as many vending machines as
possible!" Good analogy.

Best,

Mark Northam


On 8/29/07 2:05 PM, "kirbyko3 at aol.com" <kirbyko3 at aol.com> wrote:

> 
> Hey Mark,
> 
> I just took a peek at this job offering:
> 
> FMN Job 4500 - Top Online Music Library Seeks New Music
> 
> It says that if your music is used in media production (assuming that's TV,
> promos, etc) you get 100% of the backend - writer/publisher shares.? If I'm
> reading that right, does this mean that the job poster is looking for music
> for which they won't pay the composer anything, and we're lucky enough to get
> to retain the publisher and writer's share of any resulting performance money?
> 
> Pleeeease say that I'm misreading that posting. I'd be really disheartened to
> know that FMN is supporting "donating" music to libraries now.?
> 
> Fingers crossed that it's a typo,
> 
> Kerry Muzzey
> 
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