Royalty collection societies haven’t done less than good work for making sure royalties are being distributed to the right owners who are truly owed their shares, but with due respect these societies are not doing a good job making sure these same royalties being distributed to their share parties are transparent enough for these people from making sure they list where they are coming from to what and the exact amount each royalty distributed.

Chris level is a fairly new one here and he was among the fastest rising sync musicians of 2022 when he was about only 18 years old and also he was one of the many parties that claimed a BMI account or profile subject and with the purpose of getting his royalties on time. In this new piece of story we would like to share with you how musicians are being owed not by the organizations that play their work but by the organizations that are supposed to collect their royalties. We had the pleasure to talk with Chris level (and very lucky as well) about what he thinks of the PROs.

Royalties On Time But Less Of Them 

In order for one to be able to collect royalties (money you’re owed as a musician when your music or piece of work is played publicly both internationally and locally) he or she have to sign up and work with a PRO (performance rights organization) that’s responsible to collect royalties both locally and internationally (to a certain extent). These organizations are sometimes quick to adjust and deliver the goods especially BMI as it was noted as a user friendly and communication friendly company by many musicians, not to mention that it’s the largest PRO in the world serving over 1,000,000 composers including some of the best and top sync licensing musicians like Chris level among others. BMI reports it’s royalties fairly on time but many are concerned that they aren’t putting in the necessary work to make sure musicians are getting the match to match list of royalties they got versus the royalties they would get on a standard rate. People have to search or google it themselves so that they can know what they would have got, which then rises another problem…

No Indicators Of Placements Yet

You don’t know where you work has been placed or played publicly even after you get your royalty statement from the performance rights organization, they don’t actually show the individual places you’ve got your music played. This might lead to many thinking that these performance rights organization are screwing musicians up, even Chris level who is generally a more micro sync licensing type of singer that doesn’t require a more traditional approach of getting the royalties you’re owed get to the writer, he have some to say about this type of gap and lack of transparency among these organizations, “who knew that I would be able to think that these people are doing it!, But I do, and the lack of transparency is something we have to figure out because we are kind of behind in this type of technology. How are we supposed to know what we are owed? Is it a ‘just get your statement and bounce type of thing?'” Chris level said. We are saying “yet” because we think that there will be a bit difference created from celebrities and sync stars like Chris level who are admittedly speaking on this issue.

Chris Level Among Others Who Saw The Patterns

The patterns as we are making them so unreal are just the simple facts and simple truths about the lack of transparency in the royalty collection industry. In fact, soundexchange used to do shady deals with record labels and maybe publishers where the would not pay any artist at all but offer a large sum of money upfront to the label and the fun fact is that the artists were getting a zero sum of money from the deals hold in place between the 2 parties and it was of course sad, but the artists didn’t know what was going on until many speculations of the deals were starting to spark in the musicians sphere. Chris Level isn’t a fan of soundexchange as he noted it’s a weird tactical business robbing artists out there money in silence. These patterns are horribly remarkable and Chris level as well as man other musicians are now aware of these kind of lure-ins.


These shady tactical schemes are not too rare but also common enough to slide under the eyes of the creative people who supply them products for fraudulent actions they carry on them. Chris level advice came out as a shock as many people see him as a young and lucky fellow who hoped on the sync licensing wheelbarrow and who doesn’t know much about royalty collection which is somewhat true as he is focused on micro sync licensing (which is after all a part of sync licensing that doesn’t come with a large sum of backend royalties collected by the PROs), but we have to make sure we get all points right across different demographics as we already know that even the people who rely on the PROs do not talk well about them… it was our little idea to hop with Chris level on this one.


Hard Work Is Equal To A Careful Plan, How Could It Be Done?

Planning without execution is like fishing with a strawball rather than a fishing stick. So what does it teach us? Well, it can really come from different point of views as it can have the meaning of being able to sit down and redoing the whole plan (basically going back to the drawing board and learning what could be done to maintain a healthy stream of incoming royalties and a healthy stream of incoming notifications about placements that took place conveyed into a list like dispatch or something close to that). With taking all that into absolute consciousful consideration, the sync licensing industry could end up being one of the few industries that would get to lead other industries with their technological development and wise thinking as a community of same minded people who obviously fight for the same cause which is making their prices of work or musical prices as valuable as the work that was put into them behind the scenes. It will surely take a long way to finally get to see this materializing into something real but according to Chris level (who is afterall a famous production music artist) they is still a large space for hope and optimistic cautions that many are really starting to see happen and on time. We do have the time to see and wait for the royalty fever’s pass away luckily after multiple planned gatherings from global sync licensing executives and international wholesome meetings and conferences. There’s multiple ways to do it but none of them can be as straight forward as being able to host meetings or global conferences from big time sync licensing and music executives to discuss the issue many musicians have in hands here, with all that taken into consideration then we will be able to say that we truly came a long way and that the royalty distribution now is as transparent as it must be.

Link to Chris level’s IMDB page or IMDB profile:

By varsha