Quote:
Originally Posted by
G.K.
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However , there might be the following , but very rare scenario ... ( ... and now we are talking about the bad guys in the business ... ):
…. the label actually does register the track with neighbouring rights societies , mentioning that it will also collect the artist's royalties on behalf of the artist …..
Quote:
Originally Posted by
Etch-A-Sketch
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That's more in the record label world with 360 deals. In a music library deal I can't see that ever happening. ...
I'm sure you are absolutely right here !
Nevertheless I
had to mention this scenario , because I've seen this happening to people I know (
filmcomposers/songwriters) in the past.
And the more we (
composers/musicians/artists) know about what can go wrong , the more we can focus on correctly claiming our rights and royalties , even then when there's no lawyer around who is able to check our contract.
The overall amount of NR royalties might be lower and rather a lottery to collect compared to writing&publishing royalties (
see my first post above ), but I always take care about my NR in my publishing- and production contracts (
score / TV ).
You can never know what's in the box ... even if it's somewhere in the distant future and from a territory you never thought of .
Quote:
Originally Posted by
Etch-A-Sketch
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Some of the other composers I know who get $20,000 to $40,000 frequently in NR royalties will have one or two cues used a lot in a sports program or in a TV show. Formula One in Brazil used a song from a composer friend of mine and they used it as the theme song for the 2017 season... so tons of promos, tons of snippets used during the races... etc. He saw around $20k for that after about a year had passed.
What's also really amazing here -
besides that these are NR royalties - is the fact that the brazilian currency is quite weak compared to the U.S. $ , and that it is
still a five figure number the composers receive. This
is really stunning.
- Best
Gerd