Recording - February 2014 - 66

Continued from page 65
five catalogs and spread my bets. Now I've got
five companies repping my song." Human greed
or maybe good business sense, I'm not sure what
you want to call it, but if I can five people repping my stuff, that's potentially five times
better than one. And then it just got out of
hand.
Adam: Yeah, and then the artist calls the
music supervisor and says, "Who did [you]
get this from? I heard it on the show and
never got paid" and the music supervisor

"It takes a long time to get your music
out there and in front of people, and
pitching and the quantity of pitches
to get you a placement."
-Tanvi Patel
says, "Please, you know, I just got 30 calls like
this this week, please stop calling me." We
know that that happens quite often.
Tanvi: It does. There's some responsibility
on you as a composer, as well. You know, if
you hear your song, you reach out. Don't go
to the network. That's the last thing ... They
don't want to take your call. They sure
enough don't want to think that you're going
to sue them. But if you're in five non-exclusive catalogs, reach out to your
non-exclusives and find out. Now, I know a
lot of them don't tell you when you're getting
used and you don't find out until six months
later when you look at your royalty
statement. But that's a responsibility you
have to take on and say, well, my stuff is out
there, it's gonna get used, I'll eventually get
paid for it. I don't need to freak out who used
this, who didn't use this.
Adam: What about the situation where a
library might have a blanket deal with a company and there's no back-end? For example,
like your song is on ...
Tanvi: ESPN?
Adam: Yeah, or DVD extras or something,
and you don't see, as an artist you wouldn't
see ...
Tanvi: There have never been any mechanicals for DVDs, ever in the United States.
Adam: But it could happen under a nonexclusive basis in that regard, that your music
could actually be used for something and
you'd never get paid for the use.
66

Tanvi: No. Unless that supplier is into not
making any money, doesn't want to make any
money and give away stuff for free.
Adam: Well, say the supplier has a blanket
deal with like Sony, OK, and Sony makes a
DVD and uses DVD extras and uses one of
the artist's songs. It's possible that the artist
might not ever get paid for that, right?
Tanvi: Uhhh ... if it's in the agreement that
says, "I'm not going to pay you for blanket
payments." Yeah and that's a horrible contract. But that can happen in an exclusive or
non-exclusive deal.
I'm going to come out into the audience because
I saw some hands go up and we've really got like
six or seven more minutes. Somebody right
around here.
Audience member: What about digital
cue sheets? I mean, wouldn't that help to
solve a lot of the issue with ...
Tanvi: Fingerprinting is a fabulous use for
digital cue sheets. That's correct. There's a
company called Sound Mouse that has done
contracts with a few of the networks and
what happens is, is you as a supplier provide
your entire catalog to Sound Mouse and then
all the data is available digitally and what
they do is they, all the network has to do is
supply the soundtrack for all the broadcast to
Sound Mouse and then they match up digitally and input all the cue sheets are accurate.
Again, the dirty audio is an issue. So, obviously Sound Mouse has spent some money
and they have people to listen to ... where
there's a discrepancy, they listen and work it
out. That is one of the things that the PROs
mentioned to me. That's where they see the
fingerprinting being the most beneficial is for
accurate cue sheets.
Audience member: There seems to be
some libraries that are switching over to
exclusive that aren't paying anything upfront
for those tracks to switch them over. Is it
because they're not taking the copyright or ...
Tanvi: Correct. You keep your copyright.
You're still keeping your copyright, it's just
that you can't have your copyright elsewhere.
Adam: But, in my opinion, they might as
well have it. It's kind of like leasing your
house forever to somebody. They basically
own your house.

Audience member: Thank you much. I've
really enjoyed this. It seems as a consensus
that there should be a balance between exclusive and non-exclusive deals for us
composers. Can you give us some percentage
figure, like how much of your work, Tanvi, do
you get approached for exclusive deals? What
should we look at as composers? Should we
keep our best pieces for exclusive deals? Or
vice versa? Or how should we divide up our
portfolios?
Tanvi: OK, let me give an example of when
somebody comes to me and says, "Well, what
other companies should I work with?" And I
say, "Well, why do you look at the strength of
the company, the non-exclusives that you're
working with currently, find those other nonexclusives that fill the weaknesses of my
company." So, for example, at this moment in
time, I don't have any blanket deals and I
haven't for a long time. There are reasons
why, but I don't. You could go to somebody
like Jingle Punks or somebody like
Getty/Pump Audio, and give them tracks as
well and they will cover that market for you.
So, here's what I would suggest. You know,
you're a composer, you have a large supply of
tracks and at least I feel that way when I get
multiple submissions over and over again.
But what you can do, whether you want to
give your best tracks to an exclusive vs. nonexclusive, well I don't know about that. But,
try it. Try some tracks in an exclusive catalog
and then, you know, keep those exclusive.
And then try some of your other tracks in a
non-exclusive and see which works out better
for you after a year, or two years, just depending. That's a decision you need to make. But
you also need to look at those what exclusive
companies ... How are they managing ... What
type of clients do they have? How much
money are they giving you upfront? Meaning
the sync percentage, not necessarily paying
you upfront [buyouts] for the catalog, but are
you getting any percentage of sync, and then
see how it goes. I've got guys who are with
Pump Audio and they're making decent
money and they've got the same tracks with
me, and they make decent money with me
and ...
Adam: So, why would I license that track
from you when I could get it on Pump Audio
cheaper, hypothetically?
Tanvi: Well, it all has to do with the
relationships. I don't know that many music

Continued on page 69



Recording - February 2014

Table of Contents for the Digital Edition of Recording - February 2014

Contents
Recording - February 2014 - Cover1
Recording - February 2014 - Cover2
Recording - February 2014 - 1
Recording - February 2014 - 2
Recording - February 2014 - 3
Recording - February 2014 - 4
Recording - February 2014 - 5
Recording - February 2014 - Contents
Recording - February 2014 - 7
Recording - February 2014 - 8
Recording - February 2014 - 9
Recording - February 2014 - 10
Recording - February 2014 - 11
Recording - February 2014 - 12
Recording - February 2014 - 13
Recording - February 2014 - 14
Recording - February 2014 - 15
Recording - February 2014 - 16
Recording - February 2014 - 17
Recording - February 2014 - 18
Recording - February 2014 - 19
Recording - February 2014 - 20
Recording - February 2014 - 21
Recording - February 2014 - 22
Recording - February 2014 - 23
Recording - February 2014 - 24
Recording - February 2014 - 25
Recording - February 2014 - 26
Recording - February 2014 - 27
Recording - February 2014 - 28
Recording - February 2014 - 29
Recording - February 2014 - 30
Recording - February 2014 - 31
Recording - February 2014 - 32
Recording - February 2014 - 33
Recording - February 2014 - 34
Recording - February 2014 - 35
Recording - February 2014 - 36
Recording - February 2014 - 37
Recording - February 2014 - 38
Recording - February 2014 - 39
Recording - February 2014 - 40
Recording - February 2014 - 41
Recording - February 2014 - 42
Recording - February 2014 - 43
Recording - February 2014 - 44
Recording - February 2014 - 45
Recording - February 2014 - 46
Recording - February 2014 - 47
Recording - February 2014 - 48
Recording - February 2014 - 49
Recording - February 2014 - 50
Recording - February 2014 - 51
Recording - February 2014 - 52
Recording - February 2014 - 53
Recording - February 2014 - 54
Recording - February 2014 - 55
Recording - February 2014 - 56
Recording - February 2014 - 57
Recording - February 2014 - 58
Recording - February 2014 - 59
Recording - February 2014 - 60
Recording - February 2014 - 61
Recording - February 2014 - 62
Recording - February 2014 - 63
Recording - February 2014 - 64
Recording - February 2014 - 65
Recording - February 2014 - 66
Recording - February 2014 - 67
Recording - February 2014 - 68
Recording - February 2014 - 69
Recording - February 2014 - 70
Recording - February 2014 - 71
Recording - February 2014 - 72
Recording - February 2014 - 73
Recording - February 2014 - 74
Recording - February 2014 - 75
Recording - February 2014 - 76
Recording - February 2014 - 77
Recording - February 2014 - 78
Recording - February 2014 - 79
Recording - February 2014 - 80
Recording - February 2014 - Cover3
Recording - February 2014 - Cover4
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