From my point of view some authors are unnecessarily emotional in their posts. So yeah, IMHO Tim is right.
They aren’t free at all They say that “royalty free” term comes from an ancient internet stock times but it’s out-of-date now. And yes, we can collect neighboring rights except… those who we sell via license type e.g. sync rights.
I don’t think Tim is talking about this thread specifically. There have been several threads lately about broadcast licensing and the general harsh tone against Envato and as well the temptation to blame authors for the current systems is very unnecessary, whatever the topic is. If we are going to change the systems for the better we need to avoid discussion several things at once and keep laser sharp focus. We need to unite in a calm and controlled matter and demand the systems to be improved. It simply would be very wise to respect the people that have the power to help us.
Yes it´s frustrating “talking to a wall”, and Envato sure has a lot of room for improvement in the communication at the forums. Hopefully they will take us seriously and hire more staff working at AudioJungle and specifically this project. I think they will listen to us, or more importantly, take action.
Anyways, great to see so many authors starting to support this subject!
Sorry, yes I should perhaps clarify, I don’t mean this thread specifically. It’s been a long time practice that has happened over the years by certain individuals, which is very unproductive, is what I am saying. I am not blaming any authors, though you are right in that I would like people to stop e-mailing me and contacting me asking me all sorts of crazy things
Exaggerated or not, the critique is justified and if the tone got harsher, then it also might be due to Envato’s unresponsiveness. Of course, this doesn’t excuse calling out other authors.
There have been many threads about the issue of customers buying the wrong license or not filling out cue sheets. Many are aware of this, even made suggestions and contributed constructive criticism. It all got ignored by Envato. So yes, I can understand the frustration.
It can also hit $60,000 to $80,000 for the right TV spot placement and is also more of a reason for Envato to get the data we need from customers buying broadcast licenses. We are told that “the authors are the sellers” in the eyes of the tax authorities. If we truly are the sellers and all Envato is doing for both buyers and sellers is providing a transaction platform, we as sellers should have the data we need about our buyers so we can establish communication with that buyer especially for high end TV spots.
For the record, I have never e-mailed Tim to act as our ambassador and instead have chosen to protest out loud myself.However, After hanging around here for 6 years now, it is clear as day that authors selling the most units have direct access to staff, and clearly can influence policy. I know for a fact that all of you want to collect your performance royalties for TV spots. I am not even that concerned about TV shows…sure TV shows pay some money but it’s peanuts compared to a track running in a big ad campaign 10,000 to 20,000 times in a year in the USA or Europe.
For Envato to just dismiss this issue, ignore us, and almost posture as "well we just want make things easy for our clients and protect their privacy, etc. etc…is just wrong.
For us to have to rely on ridiculous “spy techniques” only via TUNESAT and SOUNDMOUSE…well…that is just wrong too.
The majority of us here can not make living selling standard licenses and earning say $500 to $2000 a month. However, if you land 1 to 3 big TV spots and get the paperwork and claim filed properly at the pros, your earnings can easily go from say 10K a year to 40 to 60K a year.
This issue is bubbling over because we all see it and hear it more and more. I hear AJ music on spots all the time. Envato has gotten so big that it really is a source for any client, big and small. Everyone working in media production all over the world knows about envato and audio jungle. Envato very well may be the largest player in the world.
The changes we are asking for are not unreasonable. When a customer buys a TV spot broadcast license please provide:
Name of Buyer?
Email Address of Buyer?
Name of product/ brand / advertiser using the music?
Title of commercial?
TV Spot codes ? (all major USA advertisers use spot codes)
Territory? Country it will air in?
Name of ad agency or post house licensing the music on behalf of the client?
Fair enough. Lol, I can imagine the crazy mails you get . Harassment is never cool though, I totally understand your not wanting to put up with it. I was just surprised as I couldn’t see what part of this thread had triggered your reaction. Now I understand it’s a broader issue.
Just in case it’s not clear, I do agree with many of the points you’ve made. It’s become obvious that a lot of authors truly have no idea what they are missing out on. Admittedly, when I first joined AudioJungle I knew very little about the business side of music. That has changed however, and a very large part of the reason I personally continue to tolerate such low sync fees for broadcast is the performance pay off. Without that, it is negatively affecting composers and the industry in general, which is why this now needs to be addressed once and for all.
Something streamlined like this would be wonderful. Without a doubt, many national commercials using our music tracks go unreported to PROs resulting in a huge loss of income. For the top broadcast licenses it would be a huge help to the composers if the process for cue sheets was more clear and easy, and simply part of the AudioJungle purchasing process. I fully support that approach.
I know you agree with me Tim and I also appreciate that you have been a warrior in fighting for what is right in audio jungle. I personally am not at all interested in having Envato become the publisher here. I just want them to pass on crucial data about our buyers when they buy specifically, TV spot broadcast licenses.
If people wonder about my credibility, here it is: I started working in a very large advertising agency in 1991. My first job was implementing in house video production for clients such as Proctor and Gamble - probably the greatest company in the world in terms of building brands like Crest, Mr. Clean,
Old Spice, Tide, all kinds of soaps etc. I know and understand every aspect of the advertising business. I have collected performance royalties for TV spots for decades…not years, decades.
I then went on to become a jingle producer servicing those ad agencies I once worked for. I also mixed spots, designed sound for them, and even participated in shooting/ filming/ and editing a few along the way.
Music on TV spots in the USA and EUROPE is big time, prime time business and needs to be handled accordingly. To watch this business evolve where major brands walk into places like audio jungle and quickly grab a track for peanuts, not communicate it’s intended end use to the rights holders (that would be us!), and get away with it has been very disturbing. This needs to change now because Envato is a massive player in this business.
That’s why I support SteelSound, he doesn’t just know “the talk”, he also has the background and experience. May his posts be kinda ruff at times (yes, mine too), he has the knowledge to address these problems. So putting him down wouldn’t be a wise choice. On a side note, I surely can’t compete with his vita, but I’ve had placements trough Trailerhouses around the world, been involved in the production of sample libraries and know at least enough about the library business to ask the right questions.
The last thing I am advocating for is making it difficult for the small and medium sized marketing agencies to buy standard licenses. We absolutely want those folks to click and buy fast, no questions asked. BUT…when a post house or TV spot editor comes knocking on our doors for a track with a Big TV Advertising campaign being planned, we need to know more about it. We need specific details that I have listed too many times now.
I also want to clear up the misconception about “cue sheets”. (I happen to be listed as “writer” on about 7000 TV show cue sheets by the way) Cue sheets are not filed for TV spot syncs at PROS in the USA. Cue sheets are filed for TV shows and films because many cues are used in films and TV shows…not just one cue.
Advertising and Promo claim forms are what we need to file at ASCAP and BMI when we get wind of our music on TV spots.
SESAC has a system where you “add jingle” to the registered title of your song. It is the same concept as filing an ad and promo claim. In all 3 cases, a “claim” is getting filed.
Hi everyone! I’m just starting to register with P.R.O., so can I ask a little question? When I make a track for AJ, there’s no publisher, right? Then there’s Excess Writer Clearance for this track, correct? Then there’s a question: should I leave the «Publisher» field in description empty or should I state my IPI? Thanks in advance.
Depends on your PRO @Theo_Sound . When you’re with BMI then you can register your track also as a publisher. I’d definetely do it with Audiojungle items. So if your tracks get properly reported, you’ll get 100% writer and 100% publisher share. There might be a fee involved tough, it differs from PRO to PRO.
Thank You for the clarification! I am with BMI and I registered some tracks with «No Publisher» option, it says «Excess Writer Clearance» and I get 200%, so will definetly register it on AJ that way too.
Definitely register in Tunesat and all the additional services listed above in this thread, the more the better as long as they are free I would say. I’m currently learning about and registering tracks these places myself. Tunesat was very straightforward and easy to upload tracks. Here is a thread that can be useful: Tunesat / SoundMouse....
It looks like we have a broad agreement in this thread what needs to be done with the broadcast licenses and how the P.R.O information is handled. Lately many authors have shown support in this topic, including the top 3 best selling AJ music producers of all time.
Some of these issues have been discussed for years. If Envato does not have capacity to prioritise this, please hire someone external. As mentioned earlier this is a very small investment versus the money Envato will earn down the road by selling the correct broadcast licenses.
Also the importance of having a system that does not work against authors rights to collect backend P.R.O revenue can not be stressed enough. For many music producers the backend P.R.O royalties is the main revenue.
Thank you in advance for taking authors seriously!
Since it’s a lot to read in this thread here is an updated summary of what needs to be done:
The 1 million, 10 million and Film & Music Broadcast licenses needs to be updated regarding confusing texts for customers. Basically Local (1 Million) - Regional (10 Million)- National / International (Film & Broadcast) needs to be included to minimise the confusion. Also we need “No Broadcasting” to be written in bold at the Music Standard License.
Buyers should ideally need to actively choose a license. For example have the license window blank/choose license before you can proceed to cart.
PRO data, full name and IPI number should be included in the broadcast licenses, as well as “Project Name” field that customers could fill during the invoice data registration.