Please, don’t launch with broadcasting in the first tier.
Didn’t realize the effects of including broadcast licenses in the first tier until now.
That’s a HUGE disappointment and obviously the opposite of what authors were hoping for.
Thanks to Tim for analysing the issue so thoroughly and eloquently.
There’s an important difference between… a) actual audience size / b) intended audience size / c) potential audience size
+1While this is OUTSTANDING news, I also question this portion. What would stop the average customer from simply choosing the basic $18 license by stating that he or she doesn’t “intend” to have a million+ audience? What’s the course of action when said video gets several million views?
In the downloadable FAQ pdf it says the following.
Q: What happens if I need to exceed the limitations of my license in the future? Can I upgrade my license to a higher tier?
A: Yes. You will be able to contact support for assistance with upgrading your existing license.
Just to clarify: I was never talking about Youtube… The terms regarding Youtube views in the Standard Muisic License are crystal-clear:
Apart from the limitations in clause 4, there are no restrictions on views or impressions of an End Product containing the Item. For example, there can be unlimited Internet views or page impressions of an End Product.
Example: your home video uploaded to a user-generated video-sharing platform goes viral and gets over 1,000,000 views. Relax and enjoy the fame, you’re still covered by this license.
In my post I was referring to broadcast / TV usage.
This really is great news…!
However – I think you should be more specific regarding the term ‘audience size’.
In the license PDFs you already specify by using the term ‘intended total audience size’. That’s a lot better!
I’d even go further and use the term ‘potential total audience size’. And I think it would be important to use these specific terms in all short overview texts for any license.
What I mean is simply this:
There’s an important difference between…
a) actual audience size / b) intended audience size / c) potential audience size
I think you should avoid any confusion for the buyer here… When a buyer selects a license for braodcast use he/she should be aware that it’s the potential audience of the tv station that counts here.
Awesome track, Sascha! Hope this feature gives it the boost it deserves!
Check this thread:http://audiojungle.net/forums/thread/top-new-authors/44886
RubenBristian saidYou can post comments but you can’t add new cards without an invitation.
damirkotoric saidDo we need invitations? I’ve posted a bunch of comments without one..
Please invite me, my username is Creattive
Now I see, please send me an invite… Username: randomnoise
Try Dashboard Plus…http://audiojungle.net/forums/thread/introducing-dashboard-plus/71870
Check out the advanced statement section. I guess that’s close to what you’re looking for?
I think GEMA is one of the more strict and militant societies. It’s actually good that Germany “gets it” and does what is right to protect composers. They know how to shake money out of people to ensure that composers are paid properly. Good for GEMA. What I like about GEMA’s approach is that they seem to take a “you are either all in, or all out” approach and they clearly want music users to be using music that is PRO registered.
Believe me… What may sound like a dream to you is actually a nightmare in reality. What you describe as “militant” is actually more a form of dictatorship. GEMA is on of the most intransparent, undemocratic and unflexible institutions we have here in Germany. And it only cares about the big (I mean BIG) selling artists/authors – for smaller composers it’s simply hell. That’s the reason why not becoming a member there when I started my business years ago was one of the best decisions of my life and also the reason why german authors are right now fighting to found the first real aternative to GEMA, the C3S: https://www.c3s.cc/en/
Anyway – I think the only reason for a confusion here is the fact that GEMA forces their members to register ALL of their work with them. This is why buyers from Germany might think that it might be the same for any author worldwide, not realizing that outside Germany you can be a PRO member but have the freedom to chose which of your tracks you register.
So @ perki2000: It’s all good. And if GEMA really has the balls to bother you, take Gareth’s advice and contact the author directly.