- This topic has 190 replies, 18 voices, and was last updated 7 years ago by .
-
Posts
-
How do you quickly upload 20 hours of music to YOUTUBE?
The operative word being “quickly” as in, while I sleep over night. Like “Select all” and Upload. Minimal effort.
At least ADREV protects and puts money in your pocket. If there wasn’t money involved then why are so many “thieves” and greedy folks uploading others music as if it were their own? They aren’t doing the uploading for fun. they are doinng it to make money!
You all still seem to be very mis-informed about the amount money that can be made on ADREV.I am not hear to persuade. This is not a call to action. I am here to report what I have been hearing. Isn’t this place called “Music Library Report”? I am giving you my report. I realize there are Pros and Cons to content ID, but the pros are increasingly outweighing the cons from my perspective.
You all still seem to be very mis-informed about the amount money that can be made on ADREV.
Please. Inform us then, with facts. Links to earnings, etc. blog posts stating how much a composer like yourself, a production music composer (not Taylor Swift or Lady Gaga etc, popular artists that the YouTube contentid system was actually designed for) has earned using contentID.
The music libraries that upload your music without your knowledge or permission are also earning something because
1. They are not giving you your cut of the earnings.
2. They have a lot more songs to make their false claims on than you do.You all still seem to be very mis-informed about the amount money that can be made on ADREV.
I do know what youtube pays: $.00068 per view for partially owned content.
I do know that most youtube videos get less than 100 views
There’s a lot of money to be made playing the lottery too. But only a handful of people win.
You are making an assumption that whatever information you are being given is universal. It’s not.
Mark said it in a nutshell.
Please. Inform us then, with facts. Links to earnings, etc. blog posts stating how much a composer like yourself, a production music composer (not Taylor Swift or Lady Gaga etc, popular artists that the YouTube contentid system was actually designed for) has earned using contentID.
I realize the you may be in a different position, as a successful high-end jingle composer, but for the average library composer who sells a few cues a month, there is more to lose than gain.
At least ADREV protects and puts money in your pocket. If there wasn’t money involved then why are so many “thieves” and greedy folks uploading others music as if it were their own? They aren’t doing the uploading for fun. they are doinng it to make money!
You all still seem to be very mis-informed about the amount money that can be made on ADREV.Show me the money.
Come on guys…Do you really expect me to send others’ statements (that I don’t have anyway)? Do some of your own research and start asking colleagues that are participating in ADREV. From my sources I have heard this:
4K to 5K per month for 1 guy with about 200 tracks in ADREV for 2 years now.
2 to 3K per quarter for 1 guy with about 150 to 200 in ADREV for 2 years now.
2K per month from a third guy with 150 to 200 tracks in the ADREV system.By the way, Mark, Desire Inspires, and Michael L can you guys please post or send links to your PRO statements and monthly Paypal payouts from all the RF sites you deal on? Or better yet please send links to your Tax returns so everyone here can thoroughly investigate your earnings?
It’s ridiculous, you take the stance, “Oh well we just don’t believe this until we see statements.” I don’t have the statements, I have information that some colleagues have passed on to me and I have no reason to believe that they are lying to me.
I don’t work for ADREV, I still am not sure what to do, but it is getting tempting. And I am not worried about getting dropped by libraries.
By the way, this conversation does not need to be skewed by mentioning “high end jingle producer” or “Hollywood Film Scoring guy” or any of that. This info I have obtained is all from regular music library writers participating in both RF and PRO libraries, Not Lady Gaga types!
Clearly you all have taken the stance of “I just don’t believe you”. Ok, don’t believe me.
My guess is that ADREV is not an overnight jackpot, and you probably have to have lots of tracks in the system for several months and a couple that take off to millions of views. But this is happening to several library composers.
The library game is no different. many of us have tracks that collect digital dust, others go on and earn thousands.
Anyway, how do you upload 20 hours of music to a YOUTUBE channel quickly?
You can also follow ADREV on facebook to stay informed:
https://www.facebook.com/adrevnet
And read about how they are tripling payments to rights holders:
My point is that I really do not see this going away any time soon.
Possibly never.Increasingly, I see this as a positive development for writers, it’s the first system in place that enables writers to see every YT video that uses your track. That is empowering!
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? ADREV empowered him to know about this before it happened. he gets to call a “time out” and say “WTF are you doing with my music? Where TF is my sync fee?” Don’t give your BS about how the back end will be great some day.”
It’s a negative development for RF catalogs as customers may get disgruntled. However, if customers all learn to accept whitelisting as part of the process, no one is harmed. It’s irrelevant for TV broadcast usages.
From my sources I have heard this:
4K to 5K per month for 1 guy with about 200 tracks in ADREV for 2 years now.
2 to 3K per quarter for 1 guy with about 150 to 200 in ADREV for 2 years now.
2K per month from a third guy with 150 to 200 tracks in the ADREV system.Dave you have to know how that sounds to a casual observer.
We have no idea who you are.Like everything else in this universe, if all the facts were known, like who is connected to the numbers that you’re quoting and what music we’re talking about, the picture might be a little clearer.
Perhaps they’re not Gaga, but I’m willing to bet they’re not your average RF composer with mostly anonymous tracks.
But this is happening to several library composers.
In a business that’s literally choked with thousands of composers, “several” doesn’t mean anything.
You’re convinced and that’s all that matters. You don’t see any down side to it. You certainly don’t need anyone’s approval here to join AdRev. So, go ahead and do it.
If your mission is to inform us. Come back in 6 months and tell us how it’s working out.
I would guess that most composers, on this forum, don’t have anywhere close to “twenty hours” of music. So, it will be interesting to see how much that amount of content translates into through AdRev.
Best of luck.
Michael L,
Are you King God of this discussion board? Do all discussions begin and end with your final concluding remarks?
I’d really love to hear from more folks other than you. Can you back out for a bit and see what others may have to say? I’d appreciate that.
And please pass on your music statements and tax returns too so we can all verify the strength your strong conclusive opinions.
best of Luck to you too.
I would guess that most composers, on this forum, don’t have anywhere close to “twenty hours” of music.
I know this is a sidetrack argument, but I do. That includes alts, remixes, and edits of tracks. Such much stuff and so little money. 🙁
Anyway, no harm Dave. Put your music in AdRev and let us know how it goes. Forget everyone else. I hope it works out well for you. You believe in the system and I cannot argue with that.
I hope you do well from your endeavors. It is a tough business out there!
Dave, I think that you’re really missing the big picture.
Like I said, this business is filled to the brim with thousands of composers, most of whom are hobbyists, part-time, whatever you want to call it. Some, literally only have a handful of tracks, others less than 100.
Some may have music in libraries on an exclusive basis. Then it would be up to the library to put the music into contentID, or not.
I really don’t think that there’s a vast army of “PROS” out there paying any attention to this discussion.
Can you back out for a bit and see what others may have to say? I’d appreciate that.
Happy to. Adieu.
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.
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.
???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”?
Hi Dave,
The site is called Music LIBRARY Report. Not AdRev report.
We cannot report on anything except for Music LIBRARIES.
– Trackmaster 3000
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?
- You must be logged in to reply to this topic.