Category: Royalty Checks and Reality Checks (Archive)

Film Music Institute > Film Music Magazine (Archives) > Royalty Checks and Reality Checks (Archive)
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Benefits of Joining Overseas Royalty Societies

Mark Holden discusses the financial benefits to composers of joining overseas royalty societies

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Tunesat: A Revolution in Music Performance Tracking

Mark Holden talks about Tunesat, a new service that allows you to track your own TV music performances for more accurate royalties

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ASCAP’s MediaGuide: Will It Identify Your Music?

Mark Holden and guests take a close look at ASCAP’s multi-million dollar MediaGuide detection system.

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ASCAP Since AFJ2 – A Series of Unfortunate Events

For almost 90 years ASCAP has benefited and served the interests of tens of thousands of composers, songwriters, and publishers. Throughout this long history the lessons of particular times and circumstances have accounted for vast changes in ASCAP policies over decades and generations. On the whole, the strides and reforms ASCAP has achieved throughout the […]

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Where’s The Beef? PRO Policies and the Nondisclosure of Music Usage in America

“We have learned that a right that goes unadministered can be forever lost. We have learned this.” — Prof. Dr. Jurgen Becker, Executive Director of GEMA, the Performing and Mechanical Rights Society of Germany. Most of my catalog as a composer is in feature film scores, themes and series television— even a couple of musicals— […]

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ASCAP and BMI Usage Weightings: Out of Step With the World?

Usage weightings are employed by performing rights organizations (PROs) as a means to assign greater or lesser monetary value to music performances in broadcast media. These weightings are allocated by usage categories, including feature performances, themes, background (a rather derogatory, inaccurate and unsophisticated term) and music used in commercials, promos and logos — renamed CPA […]

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BMI’s Doreen Ringer Ross: Stoking the Creative Fires of Film & Television Music

Doreen Ringer Ross has been at BMI since 1985, currently as Vice President of Film & Television Relations. We were pleased to interview her in Los Angeles during the fourth quarter of 2000. Mark Holden: How would you best describe your job at BMI? ROSS: Certain aspects of my job are complementary & parallel to […]

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Worldwide Music Performance Rights: The Devil In The Details

In January, at the music industry’s annual MIDEM conference in Cannes, France, BMI (one of the two principal U.S. music performing rights organizations), and its British, Dutch, French and German counterparts (PRS, BUMA, SACEM, and GEMA, respectively), announced an agreement by which each will offer webcasters worldwide performance rights to the music in their combined […]

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Direct and Source Licensing of the Performing Right – Part 2

Throwing some light on direct and source licensing was the purpose behind “Music Licensing and the Future,” a seminar sponsored by The American Alliance of Composer Organizations (AACO) and Film Music magazine. The six participating panelists represented professionals from business, academic, legal, administrative and creative facets of the music industry. The forum was moderated by […]

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Direct and Source Licensing of the Performing Right: The End of the Beginning, or the Beginning of the End?

According to Jack Zwaska, “There is no bogeyman” with regard to direct and source licensing. For 17 years, Zwaska has been the Executive Director of the Television Music License Committee in New York. The Committee is authorized by virtually every local television station in America to negotiate or litigate their music license agreements with ASCAP, […]

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Can Collecting Societies Survive Beyond The Digital Frontier?

The following is the text of an address given at MIDEM by John Hutchinson, CEO of MCPS/PRS (Mechanical Copyright Protection Society/Performing Rights Society) in Great Britain. He is the British counterpart to Frances Preston of BMI, John LoFrumento of ASCAP, Bill Velez of SESAC and Edward Murphy of the Harry Fox Agency, Inc. We are […]

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Digital Watermarking And The Performing Right – Part 2

In the arena of digital watermarking-that is, the process of automating music performance tracking in broadcast, cable and on the Internet-the current level of activity in the industry can easily be described as buzzing. This is quite a contrast from a year ago, when the International Federation of Phonographic Industry (IFPI) quietly issued its Request […]

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Digital Watermarking And The Performing Right – Part 1

Americans have come to expect a high level of performance from financial service providers in the Information Age. This expectation includes total accountability and transparency of operation with regard to accounts, i.e. your bank, law firm, stock brokerage, credit union, department store and corner gas station. If they handle your money and send you a […]

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