Dubstepforum.com

Hey guys,

I remember seeing a post about this regarding a datsik joint being used on an episode of britians got talent, where people mentioned some sort of agency you should contact if a TV show uses one of your beats without permission, so you can be reimbursed.

I was wondering.. is there an equivalent "agency" or procedure I should go through in north america? (USA)

thx in advance,

anyone?

...also - what makes it worst is that the beat wasn't simply used as background music... its a show on BET which featured a producer playing the tracks for some big name artists in the studio, CLAIMING to have made it himself.

Options?

ASCAP or BMI I assume.

Yeah, I found out some Advertising Agency was using some ambient guitar/post rock song I recorded with a mate at a studio a while back. Never even heard from them, let alone gave them permission.
Even a small cheque in mail would've been nice, or at least a name check...

No clue what I could do at the time...

thx for response, I'm trying to sort this out.

killahbeez wrote:
its a show on BET which featured a producer playing the tracks for some big name artists in the studio, CLAIMING to have made it himself.

Options?

better get your money!!!!

BMI is pretty good at tracking it down and harassing people about paying for music. I used to get harassed by them constantly for the juke boxes in our family owned restaurant.

wormcode wrote:BMI is pretty good at tracking it down and harassing people about paying for music. I used to get harassed by them constantly for the juke boxes in our family owned restaurant.

Hahah, that's nuts!

DJ Crackle wrote:

wormcode wrote:BMI is pretty good at tracking it down and harassing people about paying for music. I used to get harassed by them constantly for the juke boxes in our family owned restaurant.

Hahah, that's nuts!

Yeah man they would call every couple of weeks until they spoke to me or my dad about paying for the music. Apparently they have people who go around and check what music is on there and if they are members of BMI they seek royalties. I sorted it out with the person who rented the juke boxes to us, it was him who had to pay really. The one I put in there had only electronic music and local musicians so they didn't care about that one.

This is interesting to me because that's what i do for a living -- compose background music for TV shows... I have learned a lot here that helps me do my job, by the way,...

But yes, If the original artist belongs to a PRO (Performers' Rights Org.), of which there are 3 majors (BMI, ASCAP, SESAC), their tracks should all be registered with the PRO, with a regi code used for such issues... if pursued, they will get their royalty... maybe more by way of a law suit judging from the conduct which you say it was used

-[2]DAY_- wrote:This is interesting to me because that's what i do for a living -- compose background music for TV shows... I have learned a lot here that helps me do my job, by the way,...

But yes, If the original artist belongs to a PRO (Performers' Rights Org.), of which there are 3 majors (BMI, ASCAP, SESAC), their tracks should all be registered with the PRO, with a regi code used for such issues... if pursued, they will get their royalty... maybe more by way of a law suit judging from the conduct which you say it was used

Ahhh, mate... you have the coolest sounding job ever.
Just out of interest (and not even expecting you to reply) what was your career path?

JemGrover wrote: what was your career path?

I went to school not knowing what to do. auditioned for jazz guitar performance and ended up majoring in business admin. Knocked out a whole bunch of Reason beats in college and got this job. I was thinking of going into marketing, perhaps advertising and maybe music for advertising, a thriving industry... but always liked the idea of showbiz, entertainment, music. I want to be a dubstep dj, hip hop producer, rapper/vocalist... in a rock band.... Im not sure I have a path yet.

Cheers for the reply. That's given me something to think about, man

JemGrover wrote:

-[2]DAY_- wrote:This is interesting to me because that's what i do for a living -- compose background music for TV shows...

Ahhh, mate... you have the coolest sounding job ever.

It's not quite as cool as you think its going to be believe

diagrams wrote:

JemGrover wrote:

-[2]DAY_- wrote:This is interesting to me because that's what i do for a living -- compose background music for TV shows...

Ahhh, mate... you have the coolest sounding job ever.

It's not quite as cool as you think its going to be believe

Very, very true. It can hurt when it dawns on you that your once-beloved hobby now consists of deadlines + bullshit tunes.
But you know what... I don't have to dig ditches, wash dishes, or leave the air conditioning during summer months.
And I still enjoy myself a great deal. I spend lots of time learning and practicing, and then I realize i'm not only learning and practicing, I'm putting away more tools to make money.

diagrams wrote:

JemGrover wrote:

-[2]DAY_- wrote:This is interesting to me because that's what i do for a living -- compose background music for TV shows...

Ahhh, mate... you have the coolest sounding job ever.

It's not quite as cool as you think its going to be believe

Care to offer why?

Edit;
Ah, beat me to it. Haha

No dubstep riddims on daytime TV soaps

I do plenty of electro tracks and I can honestly get as dark as I want for a lot of stuff but NO sub bass . Meant for action/chase scenes lol.

JemGrover wrote:

diagrams wrote:

JemGrover wrote:

-[2]DAY_- wrote:This is interesting to me because that's what i do for a living -- compose background music for TV shows...

Ahhh, mate... you have the coolest sounding job ever.

It's not quite as cool as you think its going to be believe

Care to offer why?

Edit;
Ah, beat me to it. Haha

as said by [2]DAY its the deadlines
they're not the type of deadlines where the earlier you start the more time you leave yourself either
working freelance I find that production companies leave everything to the very last second and then you're then being told what changes to make by creative directors who have no idea about the limitations you have - im talking one wrong mouse click and you have lost yourself a precious 5 seconds
incorporating narratives into the tracks, although beneficial to you in the long run, always feels contrived when its a requirement - then you'll be asked to change something which will ruin the narrative it and they can't comprehend why
the subjectivity of it all is the worst part of it - "can you make it sound more [insert adjective here]" is a very ambiguous instruction

when the task is finished it is rewarding and pays quite well
id recommend working for a production company rather than freelance as you'll be more involved with the creative vision for each project

BMI only gives a shit if you're registered with them

Is the tune in question licensed at all or just a self production, no release, etc? Two completely different approaches. Also is the person using your tune worth any amount of money. IE getting blood from a stone may cost your more than its worth and they're likely well aware of said situation. Details man details!

This is not a legal opinion or advice in any way, but it appears that the producer claiming your beats may be wantonly infringing your copyright, statutory damages in the US of $150,000 per violation. BET is also infringing, though perhaps not wantonly. They are the deep pockets though.

The agencies are not the only way to resolve this.

An attorney in the US who specializes in this sort of thing could be of help.

But please make sure that you own or have licensed all of the components of audio that make up your supposedly stolen beats.