Q: Does the two-year exclusivity apply only to music that I choose to submit to the SAS library, or does it also apply to custom music I submit for project briefs?
A: The two-year exclusivity applies to all tracks submitted to SAS, whether it’s a general library submission or a specific project brief. This enables us to continue pitching your music for future opportunities, beyond the original submission.
Q: What happens to music that I submit for a specific project if it does not get selected?
A: That music will remain within the SAS library exclusively for a period of two years, beginning on the date of the original submission. Within that period, you are encouraged to re-submit that music for other projects, and the SAS team will actively re-pitch this music as well.
Q: Am I allowed to add projects secured through SAS to my reel and website, and to promote via social media?
A: This is totally fine unless there’s a specific clause pertaining to the licensed use of this music (confidentiality, etc.) that prohibits promotion. We will inform you of such restrictions if they exist on a case-by-case basis.
Q: Is the "Paid Use" threshold calculated based on gross or net receipts?
A: A “Paid Use” is calculated based on gross receipts of $1,000 ($500 to you) or more.
Q: Can you provide an example as to what type of operating expenses could be deducted in the calculation of net receipts?
A: There are no standard operating expenses applied to a placement, and more often than not there will be no deductions from gross receipts. However in an instance where additional fees may apply (for example - external production costs such as contracting a third-party vocalist, orchestrators, etc.), those expenses would be deducted from the gross receipts, and we would split the net receipts 50/50 from there.
Q: What are the deal terms for music that has been submitted, and maybe generated some revenue, but that has not yet triggered a "Paid Use"?
A: Any music submitted to SAS will be subject to the two-year exclusivity, however before a “paid use” occurs or accrues, there will be no transfer of ownership in the musical copyrights (i.e. you maintain ownership of the publishing and master). Score a Score will still collect and distribute all upfront revenue (i.e. sync fees), however, you'll be entitled to collect 100% of the publishing and writer’s share via your PRO (ASCAP, BMI, SESAC, etc.) until a “paid use” is reached.
Q: Are composers responsible for registering music before it earns a "Paid Use" and does Score a Score then updated the registration once the “Paid Use” threshold is met?
A: Yes, while we advise that you register anything that we don't own with your PRO, it’s not required. We will always register on your behalf once a “Paid Use” is achieved, and if you register on your own beforehand we will update the registration retroactively.
Q: Can I pitch the music I've submitted to SAS to my own potential clients and tell them to contact you for licensing?
A: As the exclusive reps for the material, it's important to get in touch with us before pitching any such tracks to your clients in order to avoid exclusivity issues and other potential conflicts. We'll be able to check the history of those tracks for any red flags and help out with the overall presentation and of course, handle the negotiations/licensing. Just let us know beforehand and we'll work with you to make sure everything goes as smoothly with your client as possible.
Q: Am I allowed to pitch music that I don’t own to SAS?
A: No, all music you submit to SAS should be owned and controlled by you (publishing + master) 100%. Any material from 3rd parties who are not formally signed to the SAS roster will not be accepted, unless we specify otherwise on a specific project.
Q: Can I approve the terms and creative for a project before SAS submits my tracks?
A: No, due to the volume of submissions and projects we receive, SAS does not seek approval from composers before pitching/placing tracks that have been formally submitted to the catalog. Of course, SAS always has the best interest of composers in mind and will find the best opportunities possible for the most optimal terms.
Q: Are you open to some proposed amendments to the language in this agreement?
A: We are unable to authorize any changes or amendments to the language in this agreement. It’s important for us to keep all terms consistent across the board for all of our artists. We believe that the current terms are fair for both sides and conducive to a productive and mutually beneficial collaboration.