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This was registration work I did in August 2018. So yes, it is the latest sheet as I was told.
Thanks Art, indeed this is another frustrating “work in progress” on the part of sound exchange. When these organizations constantly change the metadata format one has to wonder if they have their “sheet” together. Literally and figuratively speaking. HFA has not been smooth sailing either. Just getting a spreadsheet ingested in successfully has been a challenge for 2 years now. Too many e-mails back and forth with customer support.
Registering your cues with Sound Exchange and HFA won’t interfere in any way if they are signed to a library, yes? (e.g. such as the issues with Content ID). Are there any downsides to this with the library, and would you do this before or after the cue being signed? Or just for tracks you want to release?
For this, do you need to set yourself up as a publisher (only if the cue was not represented by a library or else designate the library publishing entity), and have a label too?
(In another thread it was mentioned about also registering with AFM and AFTRA for performer payments. IIRC, some libraries won’t sign cues which are involved with the union/union musicians, so am I correct in thinking you would not do this for cues signed by such libraries?.)
Thanks.
Regarding the part about signing up with HFA in order to collect, would the library deal allow us to directly collect mechanical royalties?? because I thought only the publisher gets the mechanicals on CD/DVD sales and then would distribute 50% after their take, in which case since a library is considered the label and the publisher, is the purpose just to be paid in the US for streaming that wouldn’t happen otherwise? And SE to act as NR for streaming, since the US doesn’t do NR? (Or maybe I’m late to this thread!!)
Logika, I have no idea what your contract stated in terms of the rights you granted them. I always gave libraries the rights to exploit my works for sync licensing, TV, Film, advertising etc. But the language of my contracts which are quite old did not discuss streaming and internet radio which increasingly is all about Spotify, Apple, YOUTUBE, Pandora, Sirius, and Amazon. All the other players are just too small to create meaningful royalty revenue.
If your contracts are not exclusive and do not mention exploiting your works in the streaming world you should have the rights to package up your own albums, under an artist name you chose and distribute to streaming platforms to play the consumer listening market.
If you signed an exclusive deal, I am seeing more and more that these publishers feel as though they control the music so they get to release away to consumer streaming platforms. I get this but what bothers me is many do not even credit the artist/ composer. you see these albums released and the “artist” is the library. Pretty shady if you ask me.
I cant speak to Content ID Conflicts as it relates to streaming on Spotify and apple music (for example) but my guess is that is a low risk scenario and only google/ youtube centric.
Hi Art, could you post a sample entry for the soundexchange spreadsheet. Communicating with them is very slow. Thanks
Thanks Art.
Hey Art, did you create separate registrations for alternate edits or just the main track. Thanks
I appreciate the spreadsheet information. I am wondering about SRCO with “International Mandate”. If I own 100% of writing, performing & copyright do I have an International Mandate? also, I have an ISRC code but where do you get an ISWC number? and, I have no UPC code, what is a EAN?
Thanks
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