(if you don't have time to read just answer the first or 2, would help a lot!)
1- Do you think music supervisors will accept my music more if I am with ASCAP? (compared to an european PRO) I mean being with ASCAP will make them simpler to work with me?
And if I work with film makers from UK, Australia, Japan.. will be easier for them if I‘m with ASCAP? (compared to italian SIAE)
2- I noticed that ASCAP has agreements with many more countries than italian PRO SIAE: does that mean I’m leaving money on the table because my PRO didn’t have agreements in those countries?
3- It’s better to have an European PRO for European countries or I should choose ASCAP everywhere because it’s more famous and american/hollywood centered??
4- Will ASCAP collect royalties when a film is played in other countries theaters?
5- Do I need a company to join ASCAP as both publisher and writer?
Questions about Music Supervisors and changing PRO moving to ASCAP
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Daniele Nasuti Daniele Nasuti https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=598683 - KVRist
- 31 posts since 22 Jan, 2023
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- KVRAF
- 20736 posts since 22 Nov, 2000 from Southern California
1. Yes
2. Can't answer. When I was working in New Line's music supervision department, I never saw anyone with PRO SIAE
3. ASCAP everywhere. Filming locations can be anywhere now but the executive departments are mostly still in Los Angeles
4. and 5. Sorry, I don't know
2. Can't answer. When I was working in New Line's music supervision department, I never saw anyone with PRO SIAE
3. ASCAP everywhere. Filming locations can be anywhere now but the executive departments are mostly still in Los Angeles
4. and 5. Sorry, I don't know
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Daniele Nasuti Daniele Nasuti https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=598683
- KVRist
- Topic Starter
- 31 posts since 22 Jan, 2023
Thanks a lot for answering! Ok, so better moving to ASCAP at least for bigger and most important countries at least..
Anyway if a music supervisor want my music for a film or series, do they have to send cue sheets to Mechanical CMOs too or only to ASCAP and the rest is up to the musician?
(I ask because my PRO collects both performance and mechanical royalties, so if I move to ASCAP will be only for performance royalties, while italian SIAE would still collect mechanical royalties for me: does that create headaches to music supervisors?)
Anyway if a music supervisor want my music for a film or series, do they have to send cue sheets to Mechanical CMOs too or only to ASCAP and the rest is up to the musician?
(I ask because my PRO collects both performance and mechanical royalties, so if I move to ASCAP will be only for performance royalties, while italian SIAE would still collect mechanical royalties for me: does that create headaches to music supervisors?)
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- KVRAF
- 20736 posts since 22 Nov, 2000 from Southern California
Sorry, I don't know. I don't remember doing anything with cue sheets. But that was a long time ago.
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Daniele Nasuti Daniele Nasuti https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=598683
- KVRist
- Topic Starter
- 31 posts since 22 Jan, 2023
okay, probably that duty was done by someone else. Anyway since I have 3 One-Stop tracks, could you suggest me some supervisors you know that could need it? (it's ok even if you just send a private message here, or maybe I can send you a link to listen and download, if you still do music supervision. It's 2 songs and 1 orchestral I both wrote, performed and produced)