Registering Cues With Soundexchange and Harry Fox.

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This topic contains 26 replies, has 6 voices, and was last updated by  Musicmatters 2 weeks ago.

Viewing 12 posts - 16 through 27 (of 27 total)
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  • #31042 Reply

    Music1234
    Participant

    This was registration work I did in August 2018. So yes, it is the latest sheet as I was told.

    #31043 Reply

    Art Munson
    Keymaster

    Well I’d suggest to all serious, professional writers of production music who control their catalogs that it may be in your interests to release your music onto the DSP’s before NE libraries, Semi Exclusive libraries, and even exclusive for 1 or 2 years type libraries start doing that.

    I agree!

    #31044 Reply

    Art Munson
    Keymaster

    This was registration work I did in August 2018. So yes, it is the latest sheet as I was told.

    Hmmm, I just sent them an e-mail.

    #31076 Reply

    Art Munson
    Keymaster

    This was registration work I did in August 2018. So yes, it is the latest sheet as I was told.

    I just checked Music1234 and that is not the latest spreadsheet. The latest spreadsheet would have “Publisher(s)” in Column X. The new spreadsheet is all inclusive. In the past you needed to submit two separate spreadsheets, one for Artists Repertoire and another for Rights Owner Repertoire. Log in to your account, Submit New>Upload New and look for the link to download “Repertoire Submission form”.

    #31078 Reply

    Music1234
    Participant

    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.

    #31084 Reply

    Art Munson
    Keymaster

    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.

    Yeah, my first couple of uploads with HFA were a problem in spite of what their website said was the proper format. After a number of back and forths with Marshall (who seems to be the only one at tech support) he ingested a file that he corrected and sent me a copy of it. I used that file for my template and since then every upload has gone smoothly.

    Send me an e-mail Music1234 and I will send you a sample file for Soundexchange and HFA if that will help you.

    #31175 Reply

    Logika
    Participant

    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.

    #31176 Reply

    Logika
    Participant

    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!!)

    #31178 Reply

    Music1234
    Participant

    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.

    #31179 Reply

    Musicmatters
    Participant

    Hi Art, could you post a sample entry for the soundexchange spreadsheet. Communicating with them is very slow. Thanks

    #31181 Reply

    Art Munson
    Keymaster

    Hi Art, could you post a sample entry for the soundexchange spreadsheet. Communicating with them is very slow.

    Here’s one tune of mine. I won’t guarantee it’s 100% correct but seems to have gone through okay.

    At the beginning of this thread is another example from Abby North so you can compare both.

    https://musiclibraryreport.com/wp-content/uploads/2018/11/Sample_Soundexchange_Repertoire_Update.xlsx

    #31184 Reply

    Musicmatters
    Participant

    Thanks Art.

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