Copyright Violation, AdRev, YouTube Content ID

Home Forums Copyright Questions Copyright Violation, AdRev, YouTube Content ID

Viewing 10 posts - 101 through 110 (of 191 total)
  • Author
    Posts
  • #20438 Reply
    Mark Lewis
    Participant

    Do you realize that my friend, without ADREV, never would have known that his publisher was just going to give away his track for a YT usage for no sync fee?

    To be clear, AdRev enabled the people who stole the music to monetize it.
    Youtube ContentID enabled your friend to find out about the thieves that were using AdRev to monetize his music without his permission and to then put a stop to it.

    I think you are misinformed about how AdRev actually works.

    #20439 Reply
    Mark Lewis
    Participant

    And Dave, you were the one that said we were all “misinformed” on how much you can make with AdRev. I simply requested that you inform us with facts as it sounded like you had them. If you don’t then no big deal.

    We are not making grand statements about earnings so I’m not sure why you would need our tax returns.
    ???

    #20440 Reply
    Dave
    Guest

    Hi Mark,

    I was joking about the tax returns.

    I’d like to hear from users of ADREV. I’d like more writers to discuss their experiences with ADREV.

    Just as folks report their experiences with Music Libraries on music library REPORT – Take notice of the word REPORT, Can people REPORT their experiences with ADREV? Anyone?

    It would be nice to have lively discussion about ADREV from those actually using it as opposed to a mountain of cynical remarks from doubters who say “prove it man”.

    Or do we have another situation where everyone is paranoid of being “blacklisted” by the almighty music library if they discuss “ADREV”?

    #20441 Reply
    Trackmaster
    Guest

    Hi Dave,

    The site is called Music LIBRARY Report. Not AdRev report.

    We cannot report on anything except for Music LIBRARIES.

    – Trackmaster 3000

    #20442 Reply
    Dave
    Guest

    Trackmaster, I see you took lessons from Bill Murray. That was really funny! You are a fantastic comedian!

    Yes, a lot of reporting about libraries happens here. And lots of music library writers work with ADREV so it would be nice to hear about those experiences too. Or are there strict reporting rules here? Is it limited to libraries?

    #20443 Reply
    Desire_Inspires
    Participant

    Yes, a lot of reporting about libraries happens here. And lots of music library writers work with ADREV so it would be nice to hear about those experiences too. Or are there strict reporting rules here? Is it limited to libraries?

    No.

    If you know people that are making money from AdRev, tell them to come here and report their experiences. I am not doubting you or saying that you are hiding something.

    There is no conspiracy theory going on. Just let us know what the real deal is as far as making money. I believe that the program is helpful for detecting usages. But I am not convinced that it helps composers to make more money.

    Whatever proof you have, share it!!!

    #20445 Reply
    Mark_Petrie
    Participant

    Whatever proof you have, share it!!!

    I ‘ingested’ (love that term) about 30 tracks into AdRev and they make about $500 – $900 a month. Keep in mind that the majority of these were ‘epic’ tracks, which get shared a lot on YT. They’re not for sale on any RF site.

    I imagine there are some high end libraries that make a fortune from content ID. Can you imagine the check Two Steps From Hell gets?!

    I think it’s worth getting involved in content ID if you have tracks that are getting uploaded to YT all the time (by trailer music fans etc) and they regularly get 1000s of views.

    The higher end of the licensing business is a much better fit for content ID because the clientele – major distributors and promo channels, are all whitelisted (no matched content flags to worry about). The libraries at this level are also usually exclusive.

    Non-exclusive libraries (particularly RF ones) and content ID are just not ready for each other right now. Hopefully there will be a solution soon that changes things in that regard.

    #20446 Reply
    soundroad
    Participant

    So far I’ve tried to contact the thief thru the comments to one of his YT video – he just removed it.
    I’ve sent an email to The Orchard Music – no answer.
    I’ve sent 5 (!) emails to [email protected] – no answer.
    It seems like I try to communicate with robots :-(.

    #20447 Reply
    Mark
    Guest

    Soundroad, it is difficult to get past the first line of defense with Orchard. PM me here on MLR and I will send you direct email addresses for the contacts that work for me.
    You have to send them a really professional email though that includes obvious proof that you are the copyright holder of the music in question.

    #20449 Reply
    MichaelL
    Participant

    I ‘ingested’ (love that term) about 30 tracks into AdRev and they make about $500 – $900 a month. Keep in mind that the majority of these were ‘epic’ tracks, which get shared a lot on YT. They’re not for sale on any RF site.

    I think it’s worth getting involved in content ID if you have tracks that are getting uploaded to YT all the time (by trailer music fans etc) and they regularly get 1000s of views.

    Non-exclusive libraries (particularly RF ones) and content ID are just not ready for each other right now.

    Which is the point of what most of us have been trying to make.

    If you have:
    1) high-profile music in a popular genre, like Epic,
    2) by a well-known composer like Mark,
    3) with a fan-base that is likely to be sharing (not paying for) your music in youtube videos,

    Then AdRev makes all the sense in the world.

    That is a completely different scenario than someone ripping a piece of RF music and throwing it onto a wedding video that might get a dozen views.

    If I were in Mark’s (Petrie) position, I would sign up for AdRev. But, as a composer whose focus is on mostly anonymous non-exclusive RF music, for which there is no fan base, it doesn’t make sense, at this time.

    What you decide to do really depends on where you fit in the musical food chain. I’m too far down for it to matter much financially. So, I choose to self-monitor, as Mark Lewis has outlined, simply to catch and hopefully stop the thieves.

Viewing 10 posts - 101 through 110 (of 191 total)
Reply To: Copyright Violation, AdRev, YouTube Content ID
Your information: