Copyright Violation, AdRev, YouTube Content ID

[Composer J]

I already had significant backend income from TV (not from libraries), so looked to RF to branch out with what I’ll call the less than “prime time” part of my catalog — more geared toward documentaries and corporate clients.

Yup, everyone is definitely coming from different places!

I have very little experience with backend PRO royalties, although I’ve had some stuff placed in Storage Wars Canada, Deadliest Catch and a few other shows. After two years I haven’t seen much from that though, maybe someone forgot to hand in the correct cue sheets…

My journey has almost to 100% been RF libraries, and I only started in 2012 with amateurish productions and not too much time spent. I’ve had no contacts in the business, it has purely been “find library, sign up, write music, upload, sell”.

In 2013 I felt I was getting more serious and devoted much more time. My productions sound much, much better but I still have lots to learn. Today I get a good income (more than an average college graduate job in the most expensive countries), mostly from (many, many small) synch fees but also, as stated before, from YouTube royalties.

I know that in the RF world alone some of the best are making around $30,000 per month just from RF licenses. They probably make much more on the side from other projects using their talents.

I have absolutely no idea how much successful TV (backend) writers can make from backend royalties today. Can you give me a hint? Do they struggle to make a living or is it enough for a Malibu home like in Two And A Half Men or is that a Hollywood scenario based on writers from the 90s when not everyone had a home studio?

[Paolo]

I’m a little late with this – kept getting error messages when trying to post this.

@Composer J

So this would be an exclusive library where you get $1,000 for each submission right when you submit? Can you submit a track per day or is there a limit?

First I have a correction to make. Now I remember that one composer was with Mega and the other with another biggie – I think it was Killer. They said they get approached a few times a year to write a CD. Then they’re paid $1,000 for each track on the CD.

I have limited experience with PRO royalties, is there a typical sum over 5 years?

This depends on where the music is placed. An example – I placed a track in an Internet political ad that paid a few hundred in sync but got no backend. On the other hand, I placed a track in the Masters Golf Tounrament, which eventually started getting used in various CBS sports shows – no sync but the backend has been paying well (way beyond the cable shows) for the last 5 years. And when that same track gets aired in primetime – NFL playoffs – the backend jumps.

@artmunson

Thanks Composer J you got me to thinking about exploring some new avenues.

Art, same with me.

@Michael L

Hey Michael L ! 🙂

The 4th block would be high-end WFH / PMA libraries

Is this 4th block off your radar for now because it would mean exclusivity? Where as with your other three blocks, you can move your tracks around and strategize on your terms?

I’ve got another thing to ask – but I’ll ask later on in a new topic rather than egregiously highjacking this thread 🙂

[Vlad]

@ Composer J, reading some of your opinions surely has me re-planning my approach to all of this. Thanks for your insight.

@ MichaelL, I don’t always agree with or like everything you state on these forums, but you surely do know what this whole thing is about. Thanks for your insight as well. And none of my business, but I am terribly curious: since you are a lawyer (and presumably make enough to live off of), why would you bother with the bs of music licensing? (and I am aware that you started out doing the music thing). Just curious, no answer needed if it isn’t a comfortable subject…. If you prefer, you could just comment on how bad my sentence structure and grammar are!

[MichaelL]

@ MichaelL, I don’t always agree with or like everything you state on these forums,

No worries Vlad. You may have noticed, that I’ve more or less retired from the advice business.

My situation is unique to me. No one can recreate the circumstances, opportunities, or state of the industry that I experienced.

A very large percentage of the discussion here revolves around broadcast-oriented libraries. I’m not involved there so have nothing to contribute.

My opinions regarding RF libraries are based upon who I believe to be the most likely RF client base, my existing catalog, and my previous positive experience with RF libraries.

So, I’ve come to realize most what I have to say, probably doesn’t apply to anyone else.

As Art has said, it’s not “one size fits all.”

Cheers,

Michael

[Vlad]

Hi Michael,

Thanks for sharing that glimpse into your life. That is a crazy story and surely everyone has a good dose of experiences behind them, so there is no one way to skin this. I have always earned my living as a full time musician, but only involved in production music since 2009. The ‘bs’ that is bothering me is the feeling that the landscape changed under my feet between 2010 and now. Libraries that were making a killing for me dried up a bunch. As my production skills and writing have gotten better, it seems that my income became inversely proportionate to that…strangely. In addition, throwing exclusives at publishers that may let your track sit for eternity seems common place. Didn’t mean for this to be a therapy session. It’s music or bust for me, as that is what I love.

[mdeman]

Hi There,

I just discovered some of my tracks ( written for an exlusive publisher) have been copied and put on Audiojungle by someone called lollyproductions. He has 71 tracks up. My publisher is looking into this, but it might be good for other composers to check for theft as well.

[daveydad]

How did you discover this?

[mdeman]

I got a call from my publisher, they discovered it. I checked most of his (lollyproductions) tracks and found at least 4 of them are mine.

[daveydad]

I can’t find him. Maybe account was deleted?

[mdeman]

Still there unfortunately. It’s lollyproduction. Not lollyproductions ( I made a typo earlier)

[ComposerLDG]

So what happens when a non-exclusive track is in multiple non-exclusive libraries (RF or not), if all of those libraries are entering the track into AdRev? Doesn’t that lead to a multitude of problems?

[NY Composer]

I know that in the RF world alone some of the best are making around $30,000 per month just from RF licenses. They probably make much more on the side from other projects using their talents.

Wow! That’s good to know. Seems a little staggering to me but then again, I don’t have over 1000 tracks floating around the RF markets.

[Michael Nickolas]

So what happens when a non-exclusive track is in multiple non-exclusive libraries (RF or not), if all of those libraries are entering the track into AdRev?

My understanding is only the copyright owner can enter tracks into Content ID/AdRev, or assign an exclusive (single) representative to do so.

[ComposerLDG]

My understanding is only the copyright owner can enter tracks into Content ID/AdRev, or assign an exclusive (single) representative to do so.

Ah ok, that makes sense. Thank you!

[Alan]

I had a similar problem. I created a YouTube video with my track for audio. It was just a word doc that said:
“Song Title”
by Me
Copyright 2014
I own all right to this music, it should never trigger a YouTube copyright infringement claim

“Claimant Name” does not own any rights to this music.

I uploaded it and it was immediately blocked. I disputed it and never had trouble with it again. I also sent a link to the video to anyone who had trouble with it. It made for easy resolution.

[Author]

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