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I’ve been contacted by a library owner who decided to use one of my tracks for his own video and a YOUTUBE copyright claim was put on it. He said he sent in a dispute. I don’t know who put it in there so who do I go to first? I did have this happen once a long time ago when Tunefruit ran into that with one of my tracks but I somehow found out it was Audiosparx and they did some kind of whitelist thing to clear the track if that makes any sense.
If you can get a copy of the claim you might see what rights manager placed it in Content ID. I had a couple where it showed that Haawk/Identifyy was the rights manager. I contacted them and they gave me the name of the library and white listed it. I also contacted the library and they removed from Haawk.
Pat, I think some of us hear have run into issues where our distributors (CD Baby, Distro Kid, etc) to Spotify, Apple Music, Google Play, YOUTUBE RED, TIDAL, etc. have “accidentally” and by an “intern mistake” have had our music and albums entered into youtube’s Content ID.
My solution was simple – all of my tracks are going into youtube’s content ID under my own account so I am the first collector of CID ad revenue royalties and everyone will have to answer back to me for “conflicts” “whitelisting” , “takes downs”, etc.
I think most composers with large catalogs have run into this issue and were left with no other solution other than to take control of the situation themselves. The two top sellers on AJ definitely ran into this issue so they put all their tracks into ADREV.
You’d think by now, July 2020, that every film maker, content creator, corporation, post house, vlogger, youtuber, hobbyist, etc…would understand that certain steps need to be taken to ensure that a newly released youtube video has been “cleared” for music usage.
We always hear the story “well I don’t want to upset or cause problems for customers who do buy a music license”. In theory, I agree, but using a composers intellectual property has it’s “issues” and one of those is youtubers must learn to upload their music license certificate (Proof of music license purchased) to YOUTUBE to ensure that their video does not get a copyright claim. That’s my 2 cents on the matter.
My solution was simple – all of my tracks are going into youtube’s content ID under my own account so I am the first collector of CID ad revenue royalties and everyone will have to answer back to me for “conflicts” “whitelisting” , “takes downs”, etc.
Yep, that’s exactly what I did. I uploaded all of my tracks to ADREV.
I didn’t even understand the problem much less what to do about it or who to go to.
This is the exact reason why it is best to just upload your entire catalog yourself to:
A. Quickly understand how Content ID works
B. Initiate and maintain control of your compositions in the YOUTUBE universe.It’s also nice to get access to every detected video using your music tracks on YOUTUBE so you can see who is using the music and how they are using it. Of course, it’s also nice to collect the content ID royalties every quarter.
A lot of publishers and libraries were crafty and manipulative with the way they handled CID “Opt in”. Many took the “bait”. In some cases, some just said “screw it, let’s upload everything to ADREV or HAAWK. HAAWK is owned by the founder of ADREV by the way. Then there were just thieves out there who also just uploaded others music as if were their own.
So newbies and youngbies, anyone just getting started, beware of all the nuances of music licensing, content ID, exclusive deals, distribution rights, and so on.
These days, when you sign a track to an exclusive publisher they want to enter the title into CID, they want to distribute the music to Spotify, apple, amazon, facebook, youtube, google play, tidal, and so on. The publisher wants full control of every revenue stream and they want to be the first to collect it, and frankly, probably not share it properly.
I could not imagine trying to execute accounting back to writers by a Music Publisher who may see CVS files with 900,0000 cells of CID royalty data, and perhaps 500 to 1000 writers to “split” the CID revenue with.
Have you ever bothered to ask AS how they execute CID accounting?
Wow, so complicated! Maybe it should be left up to first come, first serve basis. As far as the exclusive libraries, I don’t see a problem. If they’re the only ones that have your exclusive tracks, they have complete control over Content ID with them. The non-exclusive libraries should know the situation, and shouldn’t expect special privileges. First come, first serve for non-exclusives.
Hey Pat,
This happened to me a few years ago. Try this:
Make a document like this“PAT’S TRACK”
Music composed by PAT
Copyright 20XX
This music should never cause a YouTube copyright infringement claim.It was Non-Exclusively licensed by BAD GUY Productions, LLC from MUSIC LIBRARY X for use in the show BAD GUYS VIDEO.
No person or entity other than myself own any rights to this music and therefore may not claim copyright infringement.
Make it into a jpg file and make a video with your track playing in the background. Upload it to YouTube. When it gets flagged, dispute it and provide them the proof that you are the sole rights holder. They should then remove anyone else’s right claim. That’s how I did it a few years back. There were a lot of dead ends before I got it done. There’s a thread about is somewhere on MLR.
I own a library and the main issue is that a tune registered with AdRev or Youtube Content ID could be trialed in a test video for potential licensing by a client. As soon as the tracking software used by those companies recognises the tune, my client receives a copyright warning to take down their video or they’d receive a strike. Three strikes and their Youtube channel would be suspended. I work with major media companies, and if any of them received one of these takedown notices, they’d stop using me immediately. The media companies often don’t have time to find out the ‘why’. They want fast & simple.
Would you rather have a few dollars from an ad revenue system or a placement from Viacom / Bauer / Netflix / Marvel?
For this reason alone, please ensure that if you submit your music to a library, that it isn’t with a revenue tracking system.
Speaking from personal experience,
Adam
Makin’ Trax!
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