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Post subject: BMI, ASCAP, SESAC & SoundExchange
Posted: Thu Oct 26, 2017 9:16 am
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Which are you registered with and why? (For those who get royalties from their music, no matter how little).

BMI (Broadcast Music, Inc.), ASCAP (American Society of Composers, Authors, and Publishers), and SESAC are the performance rights organizations (PROs) responsible for collecting and distributing royalties for the public performance of a musical work in the United States, as stipulated by the U.S. Copyright Act. These organizations act as the intermediary between songwriters and music users to protect intellectual property and make music licensing more convenient.

In order to maximize your royalty payouts, you should join SoundExchange to receive payouts for digital statutory royalties (for example, when your music is played on Pandora), and either BMI, ASCAP, or SESAC to receive payouts for public performance royalties (when your music is played on the radio, in a restaurant, etc.)

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Post subject: Re: BMI, ASCAP, SESAC & SoundExchange
Posted: Thu Oct 26, 2017 6:37 pm
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Thanks for the reminder Mike. The small amount of writing that I have completed is at the Library of Congress. A few bands that I played with over the years are registered with BMI, ASCAP. Nothing from them in my name though.

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Post subject: Re: BMI, ASCAP, SESAC & SoundExchange
Posted: Fri Oct 27, 2017 2:38 am
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I'm registered with BMI.

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Post subject: Re: BMI, ASCAP, SESAC & SoundExchange
Posted: Fri Nov 03, 2017 9:50 am
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I used to fill out BMI forms so that any music played was accountable from the AM/FM TV station I worked for. I was only involved in the TV audio part of the paperwork if I used a composition.

Add to that . . . we had stock music that was prepaid with limited or unlimited licencing, public and/or free content, and I often thought of how much was not accounted for either from the broadcaster or from the organizations that represent the artists. What about the monies in holding before and after an artist leaves or dies? Then again there is the unscrupulous act of gaining copyright by others who have no right to those actions. They’ll also get paid. Elvis (not alone) had his name added to others’ compositions, and the Colonel got his share for example. Still, better than nothing I suppose (unless you get paid upfront for originals like some well known artists have subscribed to).

As for restaurants and the like, my guess is they pay a monthly or annual fee like a lot of DJays (who, as far as I know, submit a list like I did). I hope these playlists too filter down to those who deserve it.

My thoughts are that if you aren’t part of the group, you have little or no recourse because it will cost you in the end to reap what you own (if in fact you can afford to go nose to nose). Then again you might get pennies on the dollar which is better than no pennies (maybe). IMHO. YMMV.

Just don’t charge me for singing Happy Birthday. :wink:

FSB


Two similar but different articles related:

http://www.billboard.com/articles/news/ ... ist-rights

https://www.forbes.com/sites/natalierob ... 2b83f617e7

And if you think this is all a mixup, you should try playing the Canadian content game. :roll:

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Post subject: Re: BMI, ASCAP, SESAC & SoundExchange
Posted: Fri Dec 01, 2017 10:14 pm
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Thanks for posting those links FSB, very interesting.

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Post subject: Re: BMI, ASCAP, SESAC & SoundExchange
Posted: Sat Dec 02, 2017 5:14 am
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Post subject: Re: BMI, ASCAP, SESAC & SoundExchange
Posted: Sat Dec 02, 2017 1:34 pm
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Fender Strat Brat wrote:
I used to fill out BMI forms so that any music played was accountable from the AM/FM TV station I worked for. I was only involved in the TV audio part of the paperwork if I used a composition.

Add to that . . . we had stock music that was prepaid with limited or unlimited licencing, public and/or free content, and I often thought of how much was not accounted for either from the broadcaster or from the organizations that represent the artists. What about the monies in holding before and after an artist leaves or dies? Then again there is the unscrupulous act of gaining copyright by others who have no right to those actions. They’ll also get paid. Elvis (not alone) had his name added to others’ compositions, and the Colonel got his share for example. Still, better than nothing I suppose (unless you get paid upfront for originals like some well known artists have subscribed to).




Two similar but different articles related:

http://www.billboard.com/articles/news/ ... ist-rights

https://www.forbes.com/sites/natalierob ... 2b83f617e7

And if you think this is all a mixup, you should try playing the Canadian content game. :roll:


I guess I should get my but in gear and figure out how to do this, I'm in Canada so I'll have to investigate this further.


https://www.socan.ca/creators/about-copyright

have a good day

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Post subject: Re: BMI, ASCAP, SESAC & SoundExchange
Posted: Sun Dec 03, 2017 1:41 am
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Thanks, for the post and SOCAN link yellowsnakes.

While I’m familiar with this, and other perceived rights that work for many, these are, by past accounts, arguably, looked at differently by others on both sides of the fence.

In your link it mentions that recording media gathered a portion of blank media sales cost and this same amount was distributed to members for the consumers’ right to record copywritten music. True, but only after it was a hard fought effort which was a compromise compared to some other countries. The real problem came when musicians and the like wanting to record original work got taken for the same added cost when buying blank media. Adding to the problem was disorganized accountability both at the retailer and with the consumer as monetary details with (existing for example) stock were confusing until things were worked out. There was a whole lot of unhappiness and it didn’t stop as digital media transfers and recording were now being legislated again where there is no consensus globally.

Recordable audio only CDs and hardware on this side of the border suddenly vanished?! If you could get the media that other countries were allowed (as I did) without notification it would not work because of restrictive coding. Whatever the reason whether trade or other misguided support, not nice for musicians or consumers. :?
I’ll leave you with George Carlin’s take on life and it’s perceptions with regards to rights.

Basically, George said people have a right to live and breathe . . . other than that - they have privileges. I suppose that’s why some pretty big names find it difficult to share their talents and privileges with third parties.

Interestingly, as soon as the game changes the old players find a way to get a place at the game table without an invitation. Others would like an invitation at their table. Then again others have alternative ideas.

Still, the monopoly works for some in this divided method of collection so YMMV.

When dealing with these government and other agencies, publishers and distributors, agents and lawyers who may or may not be connected, promoters and other related business . . . it's buyer beware.

Sometimes, you get lucky, but you’ll have a long lineup. :wink:
I think these organizations and businesses provide a service that does what they propose, good or bad. They are unique to say the least.

I and others do not think that copyrights should last longer than the originators’ lifetime and maybe even less. I certainly do not think it should be transferable to non-originators’ ownership unless the originator has an agreement by contract which becomes null and void when the originator dies. Sharing a copyright should be initiated at the beginning IMHO. All of this would allow litigation to go forward in a timely and more appropriate manner, hopefully, making the playing field fair and justifiable.

While originators deserve their fair share, composers/lyricists, performers, and sometimes original producers, any or all, copyrights have been abused in so many ways and for so long. I don’t see that ending soon. Unfortunately, the abuse seldom comes from the originator (that’s if they can be identified as opposed to an unworthy collector and opportunist).
:wink:
Nuff said.

FSB

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