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But isn’t writers uploading their music everywhere, making ill advised deals, and not understanding anything about anything what we complain about all the time here? Aren’t those the points that we site concerning the devaluation of music and the race to the bottom? I wouldn’t hold this story up as advice to others to follow or consider it amazing. It’s a story of luck, and the same luck could be found in making smart deals and understanding how the business works.
I tend to agree with you Michael. I just get a kick out of this story because it’s a story of “ignorance turned out to be bliss”. It’s also a story where it contradicts everything we thought we were not supposed to do
-upload and support rf sites
-upload to adrev while music was being traded on multiple sites and therefore creating a lot of annoyed customers getting take down or copyright claim notices.
– make an ill advised deal where you grant way too many rights to a company which then dumps the music into a subscription plan. The one good thing that may come out of that deal is the fact that this site does publish PRO info and who knows…maybe the TV spot placement in Europe occurred from their and the paperwork was filed accurately generating a ton of back end.The one battle that composers seem to have won with many sites though is the fact that almost all of them now allow PRO registered music and display writer/ publisher names and IPI #’s.
I am not convinced that high end corporate players in the U.S. buy on those markets for big ad campaigns, but the Europeans seem very willing to use those sites to source music for big advertising campaigns.
In regards to ADREV, you just kind of get the impression that in the 2012 to 2015 era no one fully understood content ID. People just heard “ADREV” and some mentioned how they were making money in there, so guys just dove in with their tracks.
One can make a case that everything about this business is “luck”.
Absolutely. And remember the old saying “Luck Is What Happens When Preparation Meets Opportunity”. Which wasn’t really true in this story. 🙂
One can make a case that everything about this business is “luck”.
Thanks Music1234. The story is anecdotal but a fun, thought provoking read. I tend to agree regarding luck. What we call luck is often a matter of opportunity, being in the right place at the right time. Sometimes, being in the right place at the right time shifts the burden and it’s on us to make the most of it. So, I guess what we do from that point forward determines if it was good luck or bad luck.
One thing for sure though is if you work hard, write and record the music, release it, do the boring metadata, do the upload labor, You have yourself in a position to “get lucky”. It’s also a classic tale of “The early bird got the worm”. Ownership of assets to pick and chose where and how we want to distribute our music is more important than ever at this point in the game.
In line with the story about his European ad campaign; I have no idea where our music was licensed from for our latest Oxiclean commercial. A U.S. company and closing in on 4000 airings.
Art, this is fantastic for you, but kind of annoying on another level. You’d think that music licensing sites would just make a point to inform the writer that their track is headed into a big national advertising project. Church and Dwight is a 14 Billion company. The composer of the track should be informed. Congrats on a great sync. Hope it pays well on the back end.
Ownership of assets to pick and chose where and how we want to distribute our music is more important than ever at this point in the game.
That is definitely a point worth considering. My current experience is that if we manage our catalogs well we can equal or exceed both the front-end and back-end performance of many (not necessarily all) situations in which composers routinely give up ownership.
Hi everyone, I have a question about YouTube’s Royalty-Free Music and Audio Library. Does Tunestat, Harry Fox Agency, etc. collect on these tracks?
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