You’re right of course. Regarding TV broadcast and most common uses, the buyer would not have to worry about royalties. But there are specific cases in which PRO could come after our buyers. I’m talking small venues, small live event,… I’ve been in this game only 10 years, but I have seen this happen twice. Different countries, different rules.
Don’t get me wrong, I think it’s amazing news and I’m all for it. But we shouldn’t be in denial as to what the implications might be.
Yes, they will. About half of the best-sellers from AJ’s biggest competitors are PRO-registered tracks.
You meant exclude right? I agree that an option to show PRO only tracks must exist.
You can register alternate titles with most PROs.
Yes! Exclude, of course.
Exactly right. I think the problem is that lots of people don’t realise this is how it is, and the term “royalty-free” is the main culprit for clouding everyone’s idea of how this works.
Oh yeah! This is really good news !!
Positive change is always for the better!
So anyone want to recommend a good PRO organization to register with? Thanks.
I have the same question.
Mhhh I’m still not convinced… Small venues (and bars, restaurants, coffeebars) have to pay P.R.O organizations money every year if they play music at all (in Europe I know for sure). They can not even turn on the radio or they have to pay a yearly fee.
Now, where does this money go?! This is the weird thing… They can not check what every cafe/coffebar/venue plays (too much work) so they pay it to the artists that are getting the most anyway… WHAT?! Yes, the biggest sellers like Major Lazer, Adel etc. (the once who have the most seconds played on radio/tv) will get the biggest part of that… not the small players (like most of us I guess)…
Now these venues will have to pay to the P.R.O. organizations… NEVER OUR BUYERS. They also have to pay if they play only ‘royalty free’ music… They have to pay regardless. In Holland as soon as there is a radio on, or a cd in a public business the Stemra/Sena sends a bill. These are the rules… They can not say: he, this is royalty free. As soon as there is sound coming from a speaker it’s pay time…
I would recommend registering with your local PRO. Easier to keep in contact with and get help/information in your own language.
Some who do a lot of broadcast work in USA choose to register with the US PROs. I guess to get faster reports and payouts from broadcast work.
So right now I have no PRO affiliation - I want to register music with a PRO but only after October 4th when the new changes go into effect. Which option should I choose now? Thanks.
I’m wondering about a couple of things…
If the P.R.O. setting is global for an author account, how will the buyer, broadcaster or PRO differentiate between ‘written works of music’ (the traditional business of P.R.O.s), and tiny snippets of audio such as logos, tags, and particularly sound effects?
For instance, what happens if somebody purchases 100 sound effects for an intense film scene with loads of effects.
Do they then have to ask the broadcaster if they would mind submitting 100 ‘works’ to their PRO …
How does a sound effect even constitute as a written work?
The consequent worry here is that if all or none of an author’s items must be lumped into the PRO category together, surely this is going to result in the parties who have to lodge all the PRO requests specifying to their video guys that they are NOT to use any P.R.O. material.
I guess the big worry is that… yes, agencies etc. are willing to go and sort through all the rights organisation red tape so that they can have U2 or Katy Perry in their films and advertising, but are they going to bother going to the same effort for a 30 second piece of library music that nobody knows?
As an author I’m worried about which option to choose. I’m certainly not saying that we as composers and producers don’t deserve a slice of the royalty pool contributed to by TV/Radio stations, shops and live venues; in fact most of us work for absolute peanuts and some performance royalties would be a much needed motivation to continue here at AudioJungle. But from a buyer’s perspective, I hope it doesn’t cause a trend toward avoiding P.R.O. items and backfiring on the authors who choose to give it a go.
Up until now my publishers have always handled song registration with my PRO for me.
My question for anyone in the know -
Do I need to register all my tracks individually with my PRO?
…or will they appear as and when those tracks are used/cue sheets submitted?
Cheers.
I guess it depends on the PRO, but mine requires me to register all the tracks as Library Music and then I act as the publisher.
feels good man )
If we choose No P.R.O, is there any changes our earnings and percents?
Hi guys,
I want to make things clear.
Do I understand that now AJ gives authors the choice to sell P.R.O. music and non-P.R.O.? If I do not want to sell P.R.O. music and select “No P.R.O. affiliation” what will happen? Does this mean that my portfolio will be deleted after October 4 of the fact that I chose “No P.R.O. affiliation”?
And one more question, if I choose now No P.R.O. and then (after October 4) I will want to register P.R.O. this will be possible?
Thank you!
No, only if you doesn’t respond as clearly stated in the first post.