One of our readers, Ev, came up with the suggestion to have a section devoted to newbie questions regarding music libraries, music licensing, copyright, music publishing etc. There a lot of experienced people on this site and many are happy to share their wisdom. So, if you are a newbie (or not), and have a question, try leaving it here.
Of course many questions have already been answered here. First try searching in the search bar in the upper right hand corner. Also Google is your friend! I have found one of the best ways to search a site is use site specific criteria at Google’s web site. In other words, to search for a specific keyword, say “contracts”, type it in at Google like this “contracts site:musiclibraryreport.com”. Do not use the quotes.
If you still can’t find your answer then leave a comment here and someone will most likely come to your rescue!
whats with the new log in thing ? does everyone have to pay now to use the site ? i tried to look at something in listings and i cant without subsciption, did not realise this had come into place now.
Hi Adam, please read: https://musiclibraryreport.com/blog/mlr-subscription-rates/
Hello,
From Japan.Nice to meet you. Sorry bad English.
Please let me ask a question,what does “sting” mean(Except the artist:P)?
“8-second stings” for instance.
Hello Takeshi – A sting or “stinger” is simply a short piece of music, maybe 5 to 15 seconds long that is usually used to make a transition between scenes of a show. They can also be called bumps or bumpers.
So you can call the last part after the final crash in trailer music ending, sting section?
percussion -> builds up -> boom/crash -> sting -> silence?
I suppose you could if you can edit it out to 5-15 seconds and it musically stands alone and makes a transition. Go over to http://www.musicloops.com and look at the Bumpers/Stings/Idents category. Or search for sting.
Hi,
I am new to this world. Last week I got contacted by Universal Publishing in Denmark. They seem to be interested in what I am doing and were asking me about deadlines, me working for them, etc.
When going to their website, it’s quite poor on HQ trailer music. I also have no idea about how well used they are in trailers etc.
What is the possible disadvantage of me signing a worldwide deal with them/any other major company.
What is the advantages of me signing a smaller company such as Position Music, Big Bang Fuzz, Sonic Librarian, Select Tracks, etc?? Do I limit myself ??
How is it in the library world, if I sign Universal, does that mean that I will be limited to just work with them? I mean, I will then only work with their selected contacts around the globe.
What should I do?
Since you are new to this, I would advise you to not sign any exclusive deals yet. Get you music up on some non-exclusive sites first and start building a name for yourself, and getting the feel for all of this. I have only been selling tracks for a little over a year now, and am constantly learning more about this side of the business. A few sites I would suggest to you would be MusicLoops, AudioSparx, and ProductionTrax. Good luck to you!
If you have Universal interested in your work, you are clearly doing something right.
Faced with a choice between Universal and a bunch of royalty free sites, I know which way I’d go, and it wouldn’t be royalty free !!!!
I see. I just have the impression that these sites, that is listed here to the right, at least most of them, are a good way of getting your music into trailers. Is that wrong? Position Music, Big Bang Fuzz, etc, etc.
When signing contracts with Universal for instance, is there anything I should know, and watch out for?
I have worked with clients including work for PS3-titles, but these stuff regarding library music is new for me.
Without seeing their agreement it is hard to comment much expect for the fact that they are a good major publishing company with lots of placements.
If they want to sign you as a staff writer, you’ll have to submit your music to them first. This will most likely require you to present a certain amount of music to them each month (this is probably why they’re asking you these questions).
Usually the contract will allow you to shop any music that they don’t take for themselves to other companies. If they simply want to hire you on a “work for hire” basis, then you will only be giving them rights for the work they ask you for. Anything else you write, you can shop around with other companies.
Unless there is something in their contract that states you can’t write or submit “any” music you write (or co-write) to another company, I see this as a win/ win situation. Again it all depends on the individual contract.
If I understand this correctly:
I have 100 tracks. 50 of them are my best ones.
I sign up as an exclusive composer for Universal Publishing.
I also sign 50 of my best tracks to them + world wide deal. 1 year goes, and I am not published in any trailer or commercial situation, these 50 tracks are already sold and there is no way back?
I kinda need to guarantee (I know, impossible) that some big client will use any of my tracks, but since almost every company listed on this site (to the right) were interested in me, I have no idea what to do. Which way to go. Feels like I have 10 different paths of chances, or the Universal thing. If I sign Universal I will probably regret it for many years if nothing happens, while maybe some of my cues would be hand picked by a production company if I were listed in a smaller company (listed on this site etc).
Isn’t this a little bit kind of chancing? How do you think around this. I really went to the Universal Publishing production music site and I am not very impressed. I get more impressed by Select Tracks, Position Music, Big Bang Fuzz, Sonic Librarian, etc… also, Universal P:s youtube is very poor. Are they really “huge” in this world or is that just bull-s?
What way should I take? I feel like my cues have potential. But I need to decide which way to take.
I am not interested in having my name put on some royalty free website to make a name.
I feel like giving away a baby when signing stuff for 50 of my most beloved tracks 🙂 Feel really anxious about that.
Sorry If I sound a bit confused 🙂
I understand your concerns, but there are no guarantees that ANY exclusive library will place your music. There is no way possible for them to do that. Something I can’t understand is your reluctance to sign with a exclusive publisher because their site isn’t flashy enough. Universal Publishing is huge and owns two of those sites you speak of to the right. Killer Tracks and Firstcom.
As far as giving away your “babies”, that is something you’ll have to get over. If you don’t they will never see the light of day or ever be used and besides you can always make new music.
This in my opinion is a huge opportunity. Most of the composers here would give their left foot at a chance like this.
I would highly recommend you find a entertainment lawyer and have them review any contracts you receive. They would be able to explain their terms to you in plain language and possibly even dictate what changes you would like in the contract.
Let me put a little perspective on this for you. I just turned down scoring a independent feature film that wanted over 60 minutes of music in two weeks for what amounted to dinner and a movie (this was literally the offer) and you are agonizing over a deal that could be worth tens of thousands of dollars.
Ultimately this decision is up to you, no one here can make that decision for you.
Sorry. I needed to hear that. Thanks. I just didn’t realize how big U Publishing were. I thought these smaller companies were better at placements, even though U MUSIC is one of the biggest in the world.
Perhaps we should differentiate between exclusive libraries and exclusive deals. I write for exclusives, exclusively – but yet I am not exclusive.
However, several years ago I wrote for one exclusive that tied me to an exclusivity deal for 3 years. This was a hindrance and prevented me from writing for other exclusives and I had to remain the exclusive property of the exclusive lib that signed me to the deal until the termination of the contract.
The upside was that I was penniless and they paid me enough to cut down on the day job. Although this was recoupable (I was young and naive).
But then again it depends on the exclusive. If KPM – an exclusive – wanted to tie me to an exclusive deal, I’d say sure, here’s the rope.
Exclusive deals, are I believe, exclusive to the realm of the exclusive library.
i havent done that well from uni site at all so do think about it, some releases made me nothing and had no usage except for the advance! but that may have just been me. its diff cause you have 50, i guess somethings going to happen. but i had dreams everything would be used and in my case it wasnt so.
if in doubt and you are worrying then think about this, how long did it take to do this 50 ? are you a kinda genius that can just knock it up again ? if so why not do a load similar and put them on non exc, whats cool if you doin 50 then is this for projects solely advertising you as a composer ? thats great if so , i never had that, but would like it as i figure it looks good and makes good presence, or another idea, take a portion and split it, maybe 45 to uni and 5 to non exc and see how it goes, but if i were you, consider this, you must be flyin high for a bit as its a buzz gettin 50, then do this, write quick as chips something similar but using 10per cent of effort and i recon you honestly end up with something very similar because your mind sets been so high this year on whats right and wrong, then yeah its gonna have a lot of rough edges but who cares, dont mega edit, just stick it out as non exc, yeah thinkin about it , do that
Did you work exclusively for Uni and made a world wide deal?
I’m a trailer composer as well, have been focused on this genre for the past four years. I’ve also written for Universal’s library Killer Tracks, although those tracks have been more TV oriented. One of the great things about writing for the big libraries is that they pay well upfront – usually around $1000 a track. The bad news is that they’re paying you so handsomely because you’re not going to get any of the license fees (a ‘buy-out’ deal). As you probably know, the license fees from trailers can be really good – I recently had a track licensed twice for over $20K (for each film no less).
I should add that another great thing about writing for a major library is that they have well established distribution networks, and although you probably won’t get any cut of the license fees, you might do really well in performance royalties.
If I were you, I’d focus on the libraries that will give their composers a fair share of the license fees. One example is Immediate Music, who usually give a composer 40% (someone posted here that they were getting 50%). Some libraries pay even more. These libraries don’t usually pay anything upfront, so it’s quite a gamble. If they never get a track licensed, you never make any money. This has happened to me on more than a few tracks, but what evens it out are the big licenses you can get in the trailer world.
I should add that another great thing about writing for a big library like Universal is that they’re represented all over the world. Although you probably won’t get a cut of the license fees, you might do really well in performance royalties.
Matt,
Well done on those deals. Just curious if they were through a library or direct with a supe/studio?
I didn’t realise you were focused on trailers. As you’d have seen, that’s the direction I’m headed. I suspect I could learn a lot from you. Any chance you’d be interested in emailing me via my website? I’d love to hear some of your music and pick your brain a bit. If not, I understand and no worries. 🙂
Hey Rob, cheers man. These recent placements were through libraries. Send me the link to get in touch, I’d be happy to offer any advice. When I started out writing trailer music my tracks were pretty mediocre, but after doing it pretty much every day for the past several years, I’m starting to see the occasional nice license fee come in. I hope the previous post didn’t come across as bragging to anyone, it’s just that I felt like I needed to emphasize that the library world isn’t all about deciding between royalty free licenses and upfront fees.
Thanks Matt. http://www.cruciform.biz/?page_id=2
Didn’t come over as bragging to me. Dovetails quite nicely with what I learned from a couple of names that you would know.
Can you explain the bit about ‘probably not getting any cut of the license fees’?
We’re talking exclusive libraries aren’t we?
Most big libraries IMO don’t pay up front apart from 2 I can think of. Maybe you could give more details of the ones that pay $1000 a track? That would be very helpful!!
Thanks
All the ‘big’ libraries I’ve written for paid well upfront. By big I mean they’re owned by a big parent company, or have been around for decades. Some of the ones I’ve written for are Killer Tracks, a couple of libraries associated with APM, and Megatrax. The upfront fees were $800-$1000 a track.
There are libraries, like the ones I mentioned above, that make you sign the music over to them exclusively, and pay you well upfront as part of a buy-out deal. They then get all the license fees.
There are other exclusive libraries that don’t pay upfront, and therefore give you a cut of the license fees. (I guess there are some shady ‘cake and eat it’ libraries out there, but it’s probably best to steer clear of them!)
The music still belongs to them permanently, but you’ll hopefully participate in the licensing income. This is more important in the advertising and trailer world, which (fortunately and unlike TV these days) still enjoys significant license fees.
Hello, I was wondering if you have a cue placed by library X, but they have not yet registered that cue with my PRO, is that money lost?
The cue is registered by me with my PRO with the original title. But has not yet been registered by the library.
I am a bit new to this and it is a bit confusing.
Hi kb, It’s not lost if the cue sheet is filled out and filed correctly with your PRO. The PRO will pick up the use with the library’s retitle (if you have a non-exclusive, retitle, agreement with that library) and you will get paid.
Thanks Art!! It is a re-title agreement with the library. They just have not registered the cue with their re-title yet. That is where my confusion came in. I get it now. Thank you very much!!!!
I have someone who wants to use one of my tracks.They are dealing direct with me,the only composer and performer on the track.What is the procedure in regards to paperwork etc.Also what would be a reasonable fee to charge for the use of this track in a low budget production.
Thanks
Do you guys feel that TAXI & Broadjam are scams?
What is the advantage of a music library if you have Taxi or Broadjam
Hi Steven,
There were threads here about those companies but Art made a perfectly understandable decision to remove them. Here’s the experience of my first year with Taxi. http://forums.taxi.com/topic27376.html
I haven’t signed for a second year but I would have, had I not had access to the MLR site and all the opportunities it has opened up for me. Taxi doesn’t work for everyone but it does work for a lot of those who commit to its way of doing things.
It does present opportunities that are hard to create for yourself, such as a large 5 figure advertising gigs.
I have no experience with Broadjam and can’t comment on them.
Hi I have a publisher vs Library question. I’m a brand new publishing company and found that the best way to get started is by acting more of a music library. The deals I planned on making to writers is that I would simply take 50% on anything I directly generate for them (including future royalties). I also wanted to make it non-exclusive so I do not tie up the writers songs. I figure it’s a no-lose deal for the writer. I have a few questions that I can’t seem to put my finger on:
First, With this type of deal, am I as a pulishing company really building anything? Will I ever have a catalog to possibly sell to a major?
2. Do I own any publishing by structuring a deal like this?
3. This one confuses me the most; If I am simply representing their songs can I still register them with ASCAP under my publishing company?
Any advice here would be greatly appreciated. I’ve read many books on publishing but I know I’m still missing something here. Thanks a lot!
Hey Gregg,
All my libraries register my tracks with ASCAP. If you’re non-exclusive you’ll probably be retitling to make sure the PRO royalties are distributed properly.
As far as your library being represented by a third party (a major), that would have to be worded properly in your contract (agreement with the writer).
Re- “50% of everything”. You’ll have to make it perfectly clear if it’s 50% net or gross.
You may want to look over a couple typical library agreements.
Good luck, John
Thanks John. Very helpful. So is it pretty customary to sign with more than 1 library? Also, are you locked in for any period of time? (I know my contract would have to say so) just wondering if that’s normal or not. I have a contract that says that you can opt out with 90 days notice but that doen’t seem fair to me since I would need the time to work the songs.
Gregg
Hey Gregg,
If you were to represent cues/songs on a non-exlusive basis, you only own the right to represent those songs non-exclusively. In other words you don’t own anything.
With your goal being to start a profitable and ripe-for-takeover publishing company or music library, i suggest sharing your vision with prospective writers and convincing them to sign exclusive deals with a reversion clause should you come up short in exploiting their copyrights.
The whole notion of a “Publisher” is to have exclusive control over some “portion” of a copyright, NOT non-exclusive control over an “entire” copyright.
Thanks John. Alot more clarity now. Not sure how I can convince anyone to sign exclusive with no track record and no advance being offered. I think my plan will be to do the non-exclusive deals, get some placements and build a bit of a track record and then switch my plan to exclusive deals. Thanks so much for your feedback
Gregg
What would concern me Gregg is that you’re a new publishing company yet have to come on here seeking answers to quite fundamental questions.
Wouldn’t you go and get professional legal advice about this if you were serious? I know I would!
Think I’d be a bit nervous signing with a publisher who gets his advice off a forum tbh.
I tend to agree with Jello on this one. I found myself asking, “what does he know about publishing?” And, “how does he plan to get placements?”
I’d be nervous signing over tracks.
Michael
“I tend to agree with Jello on this one” MichaelL
Ditto… However, every success story starts with a dream, a vision. Now it’s time to do extensive research on the subject of music libraries/publishing for Gregg.
Good luck…
While I do appreciate all the feedback…Jello, I have attorneys and I have more experience than you know. I was looking for the prospective from writers. I am a veteran songwriter (25 yrs). It’s how I make my living. I have had numerous songs placed on network TV, many many many placements on cable TV, 2 films and 4 major label artists. I have never worked with a publisher or music library. I have always paved my own way and I have an extensive contact base. I have music supervisors sending me music searches. I know licenses inside and out because I have granted master and sync rights more times than I can count. I didn’t feel the need to mention all that because I’m not here trying to recruit or impress anyone. I do admit I have no track record signing any other writers (I never even collaborated with another writer). This is a brand new venture on my part and being a songwriter I really do want to be as fair as I can to any writer that works with me. Thank you again for the feedback.
Gregg
“First, With this type of deal, am I as a pulishing company really building anything? Will I ever have a catalog to possibly sell to a major?
2. Do I own any publishing by structuring a deal like this?
3. This one confuses me the most; If I am simply representing their songs can I still register them with ASCAP under my publishing company?”
Fair enough Gregg. But these (above) are fairly fundmental questions which show you haven’t perhaps given it much thought or gone to see your attorney. I don’t see where getting ‘the writers perspective’ on these questions helps you more than a visit to said attorney. Surely there’s just one right answer yeah?
I cannot comment on your experience or skillset because I don’t know you. I’m sure you’re fantastic. I can only comment from the presepective of reading ‘a new publisher’ posting fundamental questions about publishing on a forum. It’s like if I decided to set up as a guitar teacher then posted on Ultimate Guitar something along the lines of ‘what is a chord?’.
I merely post a comment to suggest that publishing shouldn’t be taken lightly and if you were really committed Gregg you would perhaps engage in serious discussions with people in the know in order to get the right answers rather than on a forum.
Whilst I’m sure not intended, it comes across as a bit amateurish, especially as you have stated that ‘I’m a brand new publishing company’ – so, effectively out there looking to work with composers with seemingly little knowledge of what a publisher does. Is that fair on composers whom you might develop a working relationship with? Will you tell them before entering a deal that you’re new and ‘learning the ropes’?
Good point Jello. I’m the first to admit that I have no experience publishing (besides my own works). As a new business, you do have to start somewhere and like I said I have spoken with attorneys. I’m not launching my business until I become an expert on all areas so I don’t see what’s so wrong with asking questions on a forum even if they are basic. And yes, I would be 100% upfront with any writer I sign. All I have is my very large contact base and placements of my own. What I bring to the table is my knowledge of songwriting, what sells in the genres that I specialize in, of course my contacts, and my tenacity and skills to pound the phones. It’s worked for me so what’s wrong with trying to help someone else? Although knowledge is very important I’ve always found that rolling up your sleaves and pounding the pavement can get you pretty far providing you also have the skills. Believe me I’ll learn every angle and what direction I want to take before attempting to sign anyone. By the way, why are you on this forum? Is to actually help anyone or to just tell people why they can’t do something? I believe in being positive and trying to help people but that’s just me and my life has worked out pretty good by living that philosophy. I do wish you the best as well with whatever you actually do.
“…All I have is my very large contact base and placements of my own. What I bring to the table is my knowledge of songwriting, what sells in the genres that I specialize in, of course my contacts, and my tenacity and skills to pound the phones…”
—
Sounds like a very good start. The other stuff is easy to learn. You answered most of what I was asking in my other post. I hope I didn’t come off too negative. Sometimes I read other posts where people seem (to me) a bit naive about successfully launching this type of business.
Contacts, a track history of your own placements, and a willingness to pound the pavement are among the most critical…
One thing I suggest is approach the business not as just another website with searchable tracks or as one who sends out HD’s full of 1000 tracks. Establish yourself as someone who LISTENS to what music sups are looking for and sends back only a few dead-nuts on-target tracks. That will help you stand out.
Best of luck!
🙂
Been There,
Thank you. No, your post was not negative it was the truth and I appreciate it. Exactly what I am planning on doing. I would be screening everything and ONLY send what they ask for. I have been sceening songs for almost 6 months and still only found a few that I am interested in. Thanks again
Gregg
Not to discourage you if you are very committed to doing this… It is massively competitive out there and you would have a very long, steep hill to climb. Even under the best of circumstances, you wouldn’t make any real money for at least 2-3 years. You would need to keep a day job to support yourself (unless you have another means of support) and do this evenings and weekends. But it really is a full time job to itself.
If you connect with some very experienced folks (composers or other industry folks) who have good direct contacts with music sups, that would help.
Since you might have to start out as a non-exclusive re-title library in order to build you catalog, you will be another one of a zillion companies just like you.
Do you have contacts?
Do you have a good grasp on the admin side of this type of business? Contracts both with composers and end users, dealing with composers, dealing with film/TV folks, etc…?
How many hours a week can you devote to this?
Are you looking to make a living at this one day or just dabble in it?
Best of luck
Hi Everyone,
I received my first money today, from 2 different music libraries … and to actually be paid (although a very modest amount) means a great deal to me; that I’m doing the right thing. I’m waiting it out, as there is reason to believe I’m going on the right path.
I was bashed the first time I wrote on this forum, for showing my impatience and inexperience … although I’m pretty sure I posted in the Newbie section and only wanted to hear others stories.
So today I want to give some hope out there, from my short time (8 months) with music libraries, that I have had some success. As a new composer, I have been treated very well by several music libraries and had sales: Ambient Music Garden has been fantastic and supportive. Music Loops which has also included me in the Royalty Free Radio (Relaxation Station), and Magnatunes is releasing 5 albums (2 already on iTunes) plus my albums have already been downloaded through magnatune.com by over 100 subscribers. This exposure is incredible!
So congrats to all the newbies out there … hang in there to all that are just starting, and please keep sharing those stories of how you are doing. It gives us hope! I see you as my colleagues, not my competition … at least not yet! ; )
Cari
Congrats Cari! I remember when I sold my first track over a year ago. I was a pretty cool feeling that people are paying for your music. After selling hundreds of tracks, I still get a thrill our of it. Good luck to you!
hi,
please can i have some suggestions – i’ve been googlin and using the site and maybe its me being a bit thick and indisisive, but im reachin out a hand – someone please take my hand and help a man in need ! right – i’ve got 100 tracks uploaded on pond5 – also on musicloops and audiosparx – but i want to just concentrate on some cheapo sites like pond5 – please can someone suggest some cheapo sites like it, the only other ones i can find are like credit sites and i dont understand this buy credits etc, its daft, just pay cash and i can half please !, so please if anyone can suggest sites that are cheapy like pond5 with easy upload and not catooh, or revostock as i understand they are dead for sales i will be eternally thankful , in this life and the next. many thanks. ps. its not me copping out as i have read most of the info on here, not all but lots sites and googled tons, and im stuck in a rut. just want suggestion of easy cheapo site, like pond5 – is sounddogs anygood ? thanks.
Big Question! So far I never had a song licensed so I don’t want to get excited for nothing so I’d better ask you guys. I just checked my BMI works catalog where the songs I registered are and noticed 2 new identical entries, one above the other and not by me. They both say “AMSALE GIRLS CUES-AMSALE GIRLS” and in the status column for each entry it says “cue sheet” next to both entries and “0” under BMI work number.
Does this mean what I think it does? Please tell me I got my first license.
OK, I just clicked on the apparent retitle and it shows Spiritual Rays Music listed as publisher and the original name of my song (which is anything but spiritual) which by the way I’d left for dead because the quality wasn’t so hot and had stopped submitting it. Has to be jingle punks.
I do believe I just got my first license.
Looks like you got a placement. A quick Google search of “AMSALE GIRLS” and it’s a show on WE Tv. Congrats!
Thanks alot Art. Never heard of WEtv until I looked it up and saw some familiar shows on their schedule.
Ok, Just Googled Amsale Girls. It premiers June 12th.
http://www.wetv.com/shows/amsale-girls
Is this crazy or what?
Congrats Pat, hopefully the first of many. Jingle Punks have gotten me quite a few placements.
Thanks Stuart. I’m blown away right now. I can hardly believe it finally a first placement.
Definitely the push I needed.
I just checked out their site I’m a bit confused on a cue vs. a full length track. One in the same or not? I thought a cure may have been a 30 sec track or such. Everything I have is a 2-3 minute full length.
I think the term cue evolved into a somewhat generic term for track these days and is interchangable. I don’t think the length matters. It’s still a cue. The cue sheet I just got is on a track that’s 2min.
Thanks Pat. I thought that might be the case, but wanted to make sure.
Congrats Pat! How exciting to “discover” your placements! In the spirit of discovery, I checked my catalog on ASCAP. Although I have about 10 songs added with different names, there are zero’s for Cue Sheets (Series and Non-Series). Wish I was just reading it wrong! I think they are Christmas songs, so maybe I’ll see something later?
Anyway, great to hear good news! Very cool!
Thanks Cari. I learned one thing for sure and that is everything is a definite “maybe.”
First, Jingle punks booted some of the very cues I counted on for getting licenses and left the ones I’d already left for dead. Go figure. The song that was picked up had been sitting there with “jp” after it for months and months, had both a couple of Taxi forwards a few years ago as well as lousy reviews from others.
One of the most valuable lessons I learned here was “Write it,submit it, forget it” and until you hear about it, there’s always a maybe.
The second thing I get from this is don’t decide the outcome before there’s an outcome. I was positive nobody would pick cue up and would instead pick up the ones I determined were worth using. Wrong! Every song is a maybe. You just can’t predict who wants what and for what or when.
(I’m just using jp as an example not trying to turn it into a jingle punks thread.)
glty
Congrats Pat! Great to hear for you! 🙂
Hey Thanks alot Rob. Glad to hear from you.
Well done Pat!
When I got my first placements last year it was a great feeling. If at first you don’t succeed, try try again. Keep on Truckin bud!
Thanks mylesthebaker. I’m pretty pumped today. Definitely helps me forget about past failures.
No failures Pat –just learning experiences.
Congrats on your placement!
Best,
Michael
Thanks MichaelL. Good point.
What are the odds of it getting dropped at the last minute after filing a cue sheet. I’ll check out the show but for some reason don’t expect to hear it. Maybe it’s episode 10 and I have to watch 9 episodes of that stuff only to hear a 1sec sting. lol