Hi guys! I guess I’ll have to summon @RedOctopus and @gballx here. Sorry to bother again!
So, I’m still struggling to properly manage my PRO registrations in a somewhat organized way, but honestly, it feels impossible. Like I wasn’t made for this at all.
Here’s the situation: I have a modest career as a songwriter and performer, but mostly composing for local films, short films, video games, and theater plays. 90% of that work is local, so I’ve always relied on my country’s PRO (AGADU), and it’s worked very well so far because they’re efficient at tracking those kinds of uses.
Thing is that since I’ve started working with RF music, I’ve hit a wall. AGADU doesn’t really cover this area properly, and when I reached out to BMI, they told me that if I’m already a member of another PRO, I’d have to terminate that relationship before joining them, which is definitely not an option as I still plan to keep composing custom music for local projects.
I’m not sure if PRS in the UK also requires exclusivity, but if they do, I guess I’ll have to stick with AGADU, even though they’re not exactly RF-friendly, and just manually report any broadcast usages I come across (which is pretty much the opposite from ideal).
I’ve also reached out to SoundMouse, but I don’t fully understand how their system works or whether they report to AGADU or directly to me.
This whole process is taking forever to figure out. CID was so much easier…
So, summing up:
- Do all PROs that work efficiently with RF music require exclusivity?
- How exactly does SoundMouse track music usages? Do they report to composers directly, or do they only communicate with PROs?
I’d really appreciate any insights because I feel completely lost here…
Thx so much in advance.