[Fmpro] DL

[LesHurdle]

Years ago Roger Greenaway said over 25% of music on air in the USA  
was DL'd........  I wonder what the % is today over which no PRO has  
any control?

40% ????

L

On Oct 3, 2007, at 8:45 AM, LesHurdle wrote:

> More to the point, how do you know the amount paid for the license is
> correct......... then, if that 'show' goes overseas.. what then.
>
> How many on this list have ever seen the contract between the
> publisher here in the USA [presuming it is not you] and the sub-pub
> overseas?
> What was the deal..........  you have no idea....... see Broadcast
> Mechanicals !!!!!!!!
>
> Also, if you are a member of e.g. PRS in the UK where Direct
> Licensing is a no no......... yet it turns out it happens.........
> how would a UK composer know if the sub-pub direct licensed..........
> where would the money go?
>
> There are so many ways for 'them' to rip us off..... and as I was
> told the other day.... folks ripping us off are just being shrewd
> businessmen.
>
> Yeah right.
>
> L
>
> On Oct 3, 2007, at 8:19 AM, kirbyko3 at aol.com wrote:
>
>>
>> That's a great point.? I normally do scoring gigs, but I do have a
>> ton of my stuff living with Pump Audio.? If they were to do a
>> direct license with anyone, I'd get 50% of the publisher's share of
>> that direct license but I don't know how my writer's share would
>> get paid.?? I need to do some detective work.
>>
>>
>>
>> kerry
>>
>>
>> -----Original Message-----
>> From: LesHurdle <leshurdle at avradionet.com>
>> To: fmpro at nxport.com
>> Sent: Wed, 3 Oct 2007 10:05 am
>> Subject: Re: [Fmpro]? PRO strategy: need advice. Please READ the
>> advise.
>>
>>
>>
>>
>> Hi Kerry,
>>
>> What you really need to ask, if you are a library composer.........
>> and especially if you are a composer from overseas..... is this
>> simple question.
>>
>> How do you know your piece of music was sold as a direct license?
>>
>> You wont...........  the fault is not just with the PRO's.
>>
>> L
>>
>> On Oct 3, 2007, at 5:21 AM, Kirbyko3 at aol.com wrote:
>>
>>> Those articles were pretty juicy and the scenario they paint sounds
>>> bleak.
>>> But it does sound like even if a direct-performance license did
>>> happen, it
>>> would be with the tiny handful of composers who score the network
>>> shows.   Would
>>> a situation like that even be feasible with all the cable nets,
>>> considering
>>> how much cable music is production (library) music?
>>>
>>> I feel like I'm not completely grasping the gravity of this...
>>> maybe you can
>>> offer a real-life-type scenario to help flesh out the picture?
>>>
>>> - Kerry
>>>
>>>
>>> **************************************
>>>  See what's new at
>>> http://www.aol.com
>>> _______________________________________________
>>> The Film Music Pro List is sponsored by Film Music Magazine -
>>> http://www.filmmusicmag.com
>>>
>>> To edit your list options or unsubscribe, visit:
>>> http://nxport.com/mailman/listinfo/fmpro
>>>
>>
>>
>> _______________________________________________
>> The Film Music Pro List is sponsored by Film Music Magazine -
>> http://www.filmmusicmag.com
>>
>> To edit your list options or unsubscribe, visit:
>> http://nxport.com/mailman/listinfo/fmpro
>>
>>
>> _____________________________________________________________________ 
>> _
>> __
>> Email and AIM finally together. You've gotta check out free AOL
>> Mail! - http://mail.aol.com
>> _______________________________________________
>> The Film Music Pro List is sponsored by Film Music Magazine -
>> http://www.filmmusicmag.com
>>
>> To edit your list options or unsubscribe, visit:
>> http://nxport.com/mailman/listinfo/fmpro
>>
>
>
> _______________________________________________
> The Film Music Pro List is sponsored by Film Music Magazine -   
> http://www.filmmusicmag.com
>
> To edit your list options or unsubscribe, visit:
> http://nxport.com/mailman/listinfo/fmpro
>