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Slightly related question: What is the value of Tunesat if it cannot be used to recover royalties? Other than an ego boost, I never understood why a composer would pay money for a service like this. For most, it does not seem beneficial.
Desire_Inspires:
Slightly related question: What is the value of Tunesat if it cannot be used to recover royalties? Other than an ego boost, I never understood why a composer would pay money for a service like this. For most, it does not seem beneficial.
That’s an interesting question. I’d like to hear more as to whether other people have actually recovered royalties from true BROADCAST use that they wouldn’t have received without the Tunesat detections. I read that ASCAP doesn’t accept Tunesat data as proof for royalty payment. I guess this belongs on another thread as its not related to RF and Direct License.
Good point.
My opinion
Tunesat is fine if you’re finding broadcast uses where the producer did not submit a cue sheet but the broadcaster is willing and able to pay backend royalties. No problem there at all.
However if the broadcaster is the one purchasing the royalty free music (our biggest clients on ML and PIR are exactly that) and a random composer starts going after them for royalties when that composer has signed an agreement to not go after them, then problems can arise.
I think that situation is and will remain pretty rare though, hopefully.I have heard of Tunesat working for members of other PROs, just not the American ones.
Whether you use TuneSat or not, shouldn’t your society, who works for you, pay you for all of your performances? If you don’t demand fair treatment, you’re not going to get it. TuneSat can provide the information you need to get the money you deserve.
@Melissa, ASCAP has its own tracking system. They are not obligated to use Tunesat to help them. I do not think ASCAP is out to cheat people, but tracking royalties is more art than science right now.
Hey guys,
I don`t know if you guys remember an older thread here where Art was reporting about a big internet and music papers campagne of a German publisher (Intervox) who got backpayments because of Tunesat lists.Yes, they got an “advance” for the expected backpayments from the German PRO Gema. But the hard reality is: the composer got nothing !
Crazy. Right….
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