NEVER register your music with a P.R.O. until you WATCH THIS!!

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If writing music for music licensing, production music, music libraries or stock music, music for film, TV and games, should you register your music with your performing rights organization, such as ASCAP, BMI, SESAC, PRS for Music, APRA, SOCAN, etc? For music copyright, should you do this to copyright your music? Does this mean a track is now officially copyrighted?
If you are a music composer or music producer looking to make money from music by licensing music, music royalties and copyrights are important. Who registers music is a very important aspect to understand.
Professional TV composer and music library owner Michael Kruk takes you through the essential aspects of P.R.O. track registrations for music licensing.
Click the link below to get 3 FREE lessons from the "Library Music That Sells" master course. (Which has contributors from BMG Production Music executives through to award winning TV editors and 6-figure-a-year composers.)
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Please note that nothing in this video constitutes legal advice of any nature and professional, independent legal assistance should be taken before signing any contract.
• NEVER register your mu...

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4 авг 2024

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Комментарии : 64

@MusicForIncome 3 года назад

What are your thoughts on registering music with a P.R.O. (or not!) and all of this in the context of production music? Leave your comments below!

@eddcharmantmusic 3 года назад

Thanks as always Michael. Your vid was An eye-opener. Was always adviced (decades ago) to always register tracks with my PRO. Done that to date. So tell me, how can we 'correct' this error with the hundreds of registered PRO tracks that are also placed for years in libraries?

@MusicForIncome 3 года назад

@@eddcharmantmusic Hey there Edd! So just to clarify, you're asking about tracks that you've registered, but that are now also registered by a library that signed them? If I've got that right, you'd get in touch with the library that signed the track (and that would have registered it themselves). Just tell them it was previously registered and if it was so under their current, or a different title. If you tell them you're happy to work with them to get that removed if need be, they'll tell you how they'd prefer to move forward. Always best to be honest about it. If the track was previously registered under a different title and was never used, so the work isn't, won't and hasn't had usage, this is the best case scenario and there's an argument to say you can just leave the registration sat there as dormant. That's the best case scenario! The messiest is when the track has been active before under the same title that the library have decided to use! In that case definitely let them know. Libraries hate these situations, especially after a track has been signed, but we'd much rather know than not know!! Hope that helps, Edd!

@eddcharmantmusic 3 года назад

@@MusicForIncome Thanks a lot for that Michael. Top notch. Really appreciate your advice.

@songsbyvoneeofficial2353 3 года назад

@@eddcharmantmusic I agree. I was told the same thing and to date I've done just that. None of them are in libraries BUT ones that were chosen through other platforms all required that the track be registered so I guess it varies by publisher. If they are going to just put their initials in front of or behind the original name you wouldn't think there would be any issues. I guess it really depends on how the client or publisher. I hate that I've registered over 400 songs/tracks only to find out now that I shouldn't have. Talk about confusing.

@MusicForIncome 3 года назад

@@eddcharmantmusic A pleasure, Edd! Hope it helps!

@nurelic Год назад

Really informative, thanks! 👌🏼

@brianmichaelfuller 3 года назад

Dude! Rocking the Charleston, SC t-shirt!! Awesome. I grew up on Hilton Head, SC lol

@MusicForIncome 3 года назад

YES Brian!! What a great place to have grown up! 👍

@andreasfranzmann9634 3 года назад

Hey Michael, thank you very much for your quality content! I still can't understand the number of 440 subscribers but I guess and hope it's just a matter of time. Just as sync licensing. :-) Keep the great stuff coming! All the best, Andy

@MusicForIncome 3 года назад

Thanks so much, Andy! Slowly but surely, huh?! Looking forward to the day when you comment "I still can't understand the number of 1,000,000 subscribers..." 😀😂

@vigilant545 7 месяцев назад

Let's say Nike wants to use a Rolling Stones song for the first time in a commercial in 2024 and the song got published and registered in a PRO in the 70s. How's that? Is it different because they are famous?

@bakedcreations8985 Год назад

Just asked Pond5 about this, they recommend the composer registers than uploads the music, it was a resounding..... 🥁......YES!

@MaestroStefanoPetrini 2 года назад

Hi Michael, thanks for your work. I am Italian and registered in SIAE(the equivalent of ASCAP or BMI). I have registered the score of the piece that I wanted to send to music libraries with them, so do you advise me to delete it from SIAE? As signed author i have an online SIAE portal where i can upload the scores of my songs (and also their respective mp3's, for further proof of authorship beyond the scores).From how you speak in the video it seems that there is no going back, but on my side there is the possibility to delete the uploaded work in one click. Is it enough to delete the uploaded score then, to avoid confusion with libraries? Also because I have already protected this song with Copyzero, an Italian timestamp service. But there is an if, it's wise to remove this song from the SIAE knowing that it will be part of the soundtrack of a short film that was commissioned to me by a friend, and therefore a potential (maybe not big) profit whenever it will be played in cinemas thanks to reproduction rights? Thank you!

@digitaleara5520 10 месяцев назад

I always register my tracks with my pro and then upload the tracks to my website as another measure of security!

@alexallredmusic Год назад

Thanks for this video, very informative. Wondering if you might be able to answer a question I have; if you've submitted your music through a distro service such as distrokid, would you always want to avoid registering those tracks with a PRO? I would think from this video that you would not want to register them, since distrokid makes payouts to the artists, they are likely handling the registration of the tracks they've distributed to streaming services for you in whatever PRO they use. Is this accurate? If so, can I remove my works from my PRO if I've already registered them both as an artist and publisher? ASCAP appears to have an option to do so. I think I already know the answer, I'm just seeking your opinion here.

@pinkpalmsmusic 2 года назад

would this also apply to stock music libraries? I think they do not go through the hassle of registering the works, so if you don’t want to go “no copyright” but maybe get some backend money you need to register yourself?

@futur3persona239 Год назад

Hi this was really useful. I have a question, which is, are you saying if I release a track with a distributor do they automatically register your music with a PRO for use in media, which is therefore why you should not register yourself? I believe my distributor, iMusician handles this but I sent an email to double check. Is that what you said? I was hoping to understand as I do not release music specifically FOR TV and film, I would like to make money from sync placements. Thank you.

@Jcg2nd 2 года назад

I like that shirt. Born and Raised

@MusicForIncome 2 года назад

Yes my man!! 🙌🏽

@lawrenceough4211 2 года назад

Hi, Michael. Thanks for sharing your knowledge. I have a couple questions: 1) Do non-exclusive libraries want to register your tracks, too? If they do, wouldn't there end up being duplicate registrations? Or would we register the tracks ourselves because non-exclusive libraries don't do registrations. 2) Would we want to register with a Mechanical Rights Organization, like Harry Fox, assuming Production companies will be making duplicate copies of a show or film for distribution?

@MusicForIncome 2 года назад

Hi Lawrence! Yes a non-ex library would register your tracks, just under a new title. They’ll also register for a mechanical share, though they usually register for100% of these themselves and then distribute out to writers, whereas performing rights are split at source, with the PRO paying you your share directly.

@Kris_jellybeard 2 года назад

I have noticed registering all my tracks myself is worth it. I have seen tracks of mine pop up on cable without having any idea how they got there. Maybe some library who did not accept them kept them on file anyway without even giving me an agreement? Some companies of supervisors grabbed them from DISCO? Anyway, royalties do show up in my statements + what show, when etc... If I would not have registered the track and the track would not be signed by a library I might loose money. Libraries anyway rename the tracks when registering.

@MusicForIncome 2 года назад

Hey Kris. Thanks for your comment. I can totally see where you're coming from. I'd make a few points though here. Firstly, if you're definitely not registering a track to a library, or you're 100% they're changing the title (or send it to them under yet another title), sure, register that track if you want to. Not all libraries change tracks titles though. Most, yes. All, every single time? No. (Talking the exclusive ones here.) I'm glad you're getting these royalties but find this situation, well, let's say, ...mysterious. If you're getting royalties on these, then no library is attached to that track & taking the publisher share, right? (Does your statement say you are receiving writer AND publisher shares?) If they are and you haven't signed an agreement with them, that's illegal on their part. If not, why would they keep these tracks on file and get them usage when they aren't making any royalties themselves on usage? Anyway, the point of this video is to be sure to stop double registration causing missing royalties, which I think is more of a potential cause of lost income that this scenario of some kind of mystery usage from an unknown source of tracks that have never been signed!

@Kris_jellybeard 2 года назад

@@MusicForIncome I get you... Yeah it's probably illegal what they do, and even after some research I have not figured out how my tracks ended up at a certain station. Tried to find even editors there but no luck so far. I got all writer/publishing for those many 11 seconds snippets on a big news network from a few quarters so far. They pay is good so I'm not complainig but I still like to know how this happened, just to make sure I deal with the right people and also to check if I could deliver more. Honestly one track used is one I did not believe in myself... ;-) And double registration, so far the ones I work with usually all rename them. I register then usually before putting on any platform people could eventually access with all proper tagging embedded.

@Kris_jellybeard 2 года назад

@@MusicForIncome I forgot to add, a good topic for a future video would be also the registering of every single alt mix separately...

@billyannecrews6651 Год назад

It what if you don’t have a publisher? Then you should do it yourself correct?

@JoannaLero 3 года назад

I guess I know what the answer is but do I assume right that you wouldn't recommend signing the same tracks with a few non-exclusive libraries if they retitle the works? Now I see why that would cause problems but, especially at the beginning of the licencing career, I thought it would be beneficial to put our songs in as many non-exclusives as possible? PS. Thank you for the videos! so helpful.

@MusicForIncome 3 года назад

Hey Joanna! Thanks for your comment: great question. You could do that, and if you did, as long as the libraries never used your original title, it wouldn’t be a nightmare if you registered that original title, should you want to. But here are 3 important things to consider if going down the non/ex with multiple libraries route: 1.) If you had the opportunity to place a track with a really good library later down the line (which would 99% be an exclusive library, because those can command exclusive rights off of creators), that becomes a struggle once you’ve let it fly into the world as a non-exclusive. I’d say pick a route once you create the track and stick with that for its lifetime. 2.) Music recognition technology is slowly making the non-ex model unworkable. Some big and film production companies actually have a policy not to use non-ex libraries now, as they don’t want potential copyright claims by 3rd parties when the show gets “scanned” by MRT. Even if they successfully dispute each claim, that’s unnecessary hassle. 3.) Non-ex libraries allow themselves to grow big, quickly. That’s the incentive for them to be non-ex. If they’re already big, your track might quickly get lost in there Re selection by clients. Hope that helps, feel free to subscribe to the channel if you’d like! 🙌🏽

@JoannaLero 3 года назад

@@MusicForIncome wow, thank you so very much for this insightful reply. It gave me a lot to think about! Time to have more confidence in my strengths and hit the exclusive libraries :) subbed!

@MusicForIncome 3 года назад

@@JoannaLero YESSS!! Definitely do that, I’d say! There’s definitely a quality/quantity balance, but quality is the first one of those skills to develop. Well established composer Mark Petrie once said that once he decided to focus solely on quality and take a little more time over things, and get them into the right hands, he saw more income from his last 20 tracks than from his previous 200! I’d definitely recommend grabbing the 3 free lessons from the link above, there’s some awesome advice in there from TV editors that could help with just that kind of thing. Hope you enjoy it!

@AO1MR810 2 года назад

How to get around not using P.R.O?

@PromoMIAR 2 года назад

Confused? Noramlly the Publisher would not be entitled to register for Writer share collection (only the publisher share) right? Surely you need to register yourself for writer share. No?

@frankspears4597 3 года назад

Thankyou

@MusicForIncome 3 года назад

A pleasure Frank! Feel free to subscribe if you’d like. 👍🏽

@frankspears4597 3 года назад

@@MusicForIncome i subscribed Michael but didnt receive email

@MusicForIncome 3 года назад

@@frankspears4597 hey Frank, I’ll look into that for you. Could you check your spam/junk and promotions folders in your email and see if it’s in there? That can often be the case. Thanks!

@frankspears4597 3 года назад

@@MusicForIncome hello Michael, nothing in the spam, junk emails

@MusicForIncome 3 года назад

@@frankspears4597 ok Frank, drop us an email to info@musicforincome.com and we’ll get you set up!

@digitaleara5520 10 месяцев назад

Another library states you can’t upload your tracks unless their registered!

@Vitericus1 3 года назад

So, if you're aiming for the music library thing, it really doesn't pay to set up with a PRO at all? I've been struggling with whether to do this or not, though I thought ASCP does licensing themselves. In a related question, should I not post any of my tracks to my SoundCloud page if I'm looking to send them to a library, or is that OK since SoundCloud doesn't license?

@MusicForIncome 3 года назад

Hey there Matt! Thanks for your comment. So you DO need to be registered with a PRO to get royalties. What we're talking about here in this video is registering the tracks with a PRO - which is the library's job. So: you join a PRO, let's say ASCAP as you mentioned them. ASCAP give you an IPI number. This is your personal identifier. You give your IPI number to the library when they take the final versions of your tracks off you. The library then register the tracks with their PRO and say "The composer is Matt and his IPI number is xxxxxxxx." The beauty of an IPI is that it works no matter which PRO's get involved along the way (for example your music might be used abroad and reported to a PRO in another country.) Totally fine to post to Soundcloud as they don't take any ownership of tracks. But once you contract those tracks to a library it's good to ask the library if they'd rather you remove them from any social media, including Soundcloud. Your contract with them may well give you details on this. Hope that helps!

@Vitericus1 3 года назад

@@MusicForIncome Wow thanks for the reply! This really clears things up! Now I feel better about registering with ASCAP if it's not necessary to register your tracks if they're going to a library.

@MusicForIncome 3 года назад

@@Vitericus1 A pleasure! Glad to help! Yup, getting set up as a PRO member is definitely an important thing to do.

@noodlessoul8356 2 года назад

@@MusicForIncome But don't you say in the video that it's better to not register with a PRO before submitting your music to a library because they'll do it for you?

@robertfimbres9628 2 года назад

@@noodlessoul8356 yes, but he is referring to not registering your TRACKS. that’s the libraries job to do. But becoming part of a PRO yourself is the important thing.

@peacelove7598 2 года назад

When you say music libraries, do you mean music publishers?

@MusicForIncome 2 года назад

Hi there! A music library is a form of music publisher, but a music publisher is not always a music library! Music libraries are an organised collection of music mainly intended for use within media (film/tv/games/radio/corporate video, etc.)

@cinemystics 3 года назад

Hi I've been working on creating music ready to submit to libraries, but this is the first video I've seen that reccomemds not registering with PRS/other local PRO.. before submitting to a library.. I find this hard to wrap my head around.. why would the PRS writer membership be useful in this case? I mean, even with 20 songs broadcast on radio, I havent recieved a penny from that because of the sampling method scanning the airwaves every now and then that they employ... please can you elaborate on this info, for example, if we sent some music to a library without registering the music on PRS as a writer, is there any point being a member of PRS in the first place for us? I understand that you would be the publisher as a library owner, but I dont quite get how it works for the composer, as in.. if we send our music to you without first registering it, is there any guarantee if it gets used that we would receive a royalty

@MusicForIncome 3 года назад

Hello there! Happy to try and help! So the thing to be clear on is that we definitely DO want your music registered with PRS if it’s going to get aired/broadcast. This video is more about who does that registration and the issues that can arise from that. If there’s no publisher and you yourself get it on radio/TV etc., definitely do register it yourself. All good music libraries (in fact, all music libraries that I’ve ever come across), will register your music with their PRO once they contract it off you. They want their share too of course, so they usually don’t hang around on this front! So a Library will register your tracks. Even if you’re writing for a stock music library who may not be targeting broadcast opportunities but more corporate “non-broadcast” stuff, many of them ask you for your PRO affiliation & details if you have one, so email them directly about track registration if in doubt. I personally don’t really target these libraries as I want to get my music placed on film/TV which gives a better return and royalty stream in most cases. Re. the radio/sampling thing - that sucks, but I’ve fallen victim to it myself, so you're not alone! It’s great if you fall on the sample days, not great if you don’t. On the upside, there’s talk that, as tracking technology progresses, the process of this kind of date sampling may become a thing of the past. Hope that helps - anything that’s not clear, let me know!

@cinemystics 3 года назад

@@MusicForIncome Hi Michael! wow, thank you so much for your prompt reply and for in the first place sharing such vital info... its super helpful!!! I am starting to understand a bit better now, sorry for my confusion at first, I really appreciate your response because it helps me to see things more clearly... Simon. Ps I think i need to watch the video again for it to truly sink in... and re read your reply.. thanks so much again for taking the time out to respond!!!

@MusicForIncome 3 года назад

@@cinemystics A pleasure, Simon! No need to apologise - it IS confusing so you're certainly ahead of many other composers in getting your head around all this stuff. Sounds like you're already getting some music out there - here's to your continued success!

@cinemystics 3 года назад

@@MusicForIncome cheers! I'm going to look at your course for sure soon.

@MusicForIncome 3 года назад

@@cinemystics Sounds good! Any questions feel free to drop us an email at info@musicforincome.com - we're here for you!