Competitrack Ad Codes

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  • #14442 Reply
    dp5000
    Participant

    Hi all.

    Long time lurker here. First time poster. This site has been a tremendously helpful resource. Thanks to all who provide insight and share experiences.

    I composed music for a worldwide spot for a major car manufacturer that begins airing this weekend. I will be registering the track with ASCAP as a commercial track and attaching the appropriate Competitrack Ad Code as requested by ASCAP.

    After doing some initial searches on past ads on Competitrack I see a lot of ads that are re-cuts (different versions) of the same ad, and have different ad codes.

    Does anyone have any experience with this? Would I register the track multiple times with different ad codes, as they pop up? Or can you add multiple ad codes to a single track registered with ASCAP?

    I know ASCAP can be tricky getting commerical/promo royalties, so I want to make sure I’m submitting it correctly and getting paid for all possible broadcasts, as this will be worldwide.

    I have already been paid an upfront sync fee for my track, so that is not my concern here, only registering correctly with ASCAP.

    Thanks in advance to anyone who has insight into this.

    #14448 Reply
    More Advice
    Guest

    I just registered a spot with ASCAP too DP 5000.

    http://www.ascap.com/members/payment/musicinadvertisements.aspx

    Follow these directions above. Supply all the evidence you can.
    Copy and Paste all the competitrack data, send in your mp3 of the track, send links of the actual spot, and fill out the “Advertising Claim Form” in that link. It is a PDF file.

    Most imporatntly, collect an up-front synch fee from the advertiser or ad agency!

    Don’t think that royalties will cover what you are entitled too for a worldwide spot. I really hope you are getting paid a substantial sum of money up-front for licensing your music to a worldwide advertiser or perhaps you are performing “original composition” services for a fee for that advertiser or agency. All the money is “Up-Front” The back end is peanuts compared to the up-front synch fee the advertiser should be paying.

    #14472 Reply
    dp5000
    Participant

    Thanks More Advice.

    The upfront sync fee was very nice for this, so any royalties from ASCAP would just be icing on the cake. I don’t expect it to be as much as I was paid up front, but I should be getting something. I had seen the link you posted before. The spot hasn’t shown up on Competitrack yet. I may have to just get with the ad agency and have them provide me as much info as they can to submit with the claim.

    Thanks for your response!

    #14473 Reply
    Blind
    Participant

    Performance royalties on commercials, as More Advice hinted at, are literally pennies per play in my experience.

    #14474 Reply
    Art Munson
    Keymaster

    Performance royalties on commercials, as More Advice hinted at, are literally pennies per play in my experience.

    Not necessarily. Tunesat detected a commercial for zumu.com where the music was purchased off of an RF site. I got a copy of the commercial from the production company submitted to BMI (with a Jingle Data sheet) and the back end amounted to about $500.

    #14476 Reply
    More Advice
    Guest

    Definitely file the claim with ASCAP…I have received royalties in the amount of $1300 for a Sears Campaign and even $550 for a local glass and mirror dealer who made a jingle, but advertised heavily on TV for 6 months.

    Art, I think Blind is indicating that these royalties are unsubstantial when compared to the up-front license fee or work for hire contract to score a spot. That fee can easily pay $10,000 to $25,000 (or even more) for a worldwide branding spot.

    #20550 Reply
    Tim Reppert
    Guest

    How about for BMI registered works? Can you submit an ad claim form to ASCAP for this?

    #21794 Reply
    MaLmusic
    Participant

    I have a few questions about royalties for TV commercials, hopefully some of you can help me out.

    Recently I had a track used in a credit card TV commercial, and so far, Tunesat has picked up about 225 airings, and still counting (mostly on BET, MTV2 and Logo).

    When I check on iSpot.tv, the numbers are about the same as my Tunesat numbers, but for some reasons, when I check on Competitrack, the spot only has 16 airings right now.

    If I understand right, it seems like ASCAP and BMI only use Competitrack’s numbers, so am I just out of luck? Or is there any chance they could consider Tunesat’s numbers or iSpot’s numbers?

    Also, at what point is it worth it to pursue royalties for commercials? Should I wait until there was over 500 airings or something like that?

    #21795 Reply
    wilx2
    Participant

    Hi Mlmusic:

    I asked my rep at competitrack about this a few months ago. They said that for the more fringy channels, and yes that includes logo, bet, and mtv2, they are not monitored 24/7. Instead they are monitored for a brief period of a few hours each day, and those hours change for each day. And yes, the competitrack count is the all important count for PRO payout. You just have to be lucky with commercials on those lesser channels – lucky that your performances line up with their abbreviated monitor schedule. For the bigger channels, it is 24/7. Also, for the complete list of competitrack channels you can hit “TV Station list” on the left on the main search page. Although it is a large list, it is not every channel. The total list of channels differs slightly between ispot, tunesat, and competitrack. I have a commercial which runs about 20 times a day on those similar fringy channels, and the PRO action on it is very lukewarm. Very frustrating. Hope that helps!

    #21796 Reply
    MaLmusic
    Participant

    Oh I see, that’s too bad, but thanks for the answer!

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