- November 17, 2018 at 9:27 am #31237
A trendy topic nowadays is discussing whether or not companies that do not engage in publishing admin should in fact start doing that?
I’d say no. I strongly advise learning the skills it takes to file claims at your PRO yourself.
Get those ad codes from Competitrack yourself, google the ad agency of record for the spot your music is running on, and file that claim at your pro. The process, once learned always takes only about 20 minutes. Yes I will do 20 minutes of admin work to collect as writer and publisher. Do not discount how much more you can earn especially when your music is running on a TV spot.
Here is what you need to do this
1. Tunesat Detection Service – They do detect spots on TV
2. Eyes and ears on the TV every time you watch (YES, I very often get wind for the first time that my music is on a spot simply by seeing and hearing it on TV!)
3. Account at Competitrack (Now Numerator) to get the ad codes and initial air date and # of times the spot aired and where? Nationally local, internet….etc….ALL PROS use this service to gather data about air dates and number of occurrences.
4. Account at a PRO and knowledge of the advertising and promo claims forms or using the “add jingle” button at SESAC.
5. YOUTUBE links to the spots as further proof to present to the pro
This really is not rocket science. And for the 20 to 30 minutes it often takes me to dig up the info, I will gladly double my royalties as opposed to hoping that someone else will “do this for me.” No one wants your royalties more than you, so learn how to chase them down.November 17, 2018 at 9:49 am #31240
Yes indeed Music1234 and is exactly what I do. BMI pays off of Competitrack adcodes. Tunesat is invaluable for pickimg up those spotsNovember 18, 2018 at 7:23 am #31280
Many thanks Music1234 for sharing your insight and experiences once again.
It does appear to amount to much more than 20-30mins, especially when taking into account the time spent in front of the TV, so I guess the size of the writer’s NE catalogue should be a determining factor when considering this route.
I’m wondering if anyone has had experience of this also paying off for works signed to exclusive libraries and where usage is missed by PROs?November 19, 2018 at 11:42 am #31282
Wes B, to clarify I do not watch TV with the intent of “looking out” for my music. Just saying it never hurts to listen while watching.
Secondly, I am mostly commenting from the perspective of TV commericals. If I hear my track on a TV show I am pretty confident who placed it as I have a long relationship with publishers feeding TV shows. I need not be concerned about that because it probably already made it on a cue sheet.
If I hear it on a spot, I can typically draw a conclusion as to how the music was sourced and therefore file the “jingle” or “advertising and promo” claim as publisher and writer at my PRO.
Thirdly, self publishing only exists in the context of non exclusive, do it yourself, upload and tag, credit writer and publisher licensing platforms. These platforms are not in the business of publishing administration, but do not be alarmed by that, learn the admin side, do it yourself, and earn more.
If I hear my spot on TV commercials I can complete the admin process in 30 minutes typically, but you have to know what you are doing.
I’m wondering if anyone has had experience of this also paying off for works signed to exclusive libraries and where usage is missed by PROs?
If the PRO honors Tunesat detection, perhaps a youtube link as further proof, they are supposed to pay for the “missed” placement in theory. It’s not so much a miss as it is more so a case of PRO’s not paying because they just don’t pay much for certain drops as in Big Ten Network, or Scirpps.November 22, 2018 at 8:09 am #31284
This is valuable insight, Music1234 – thanks so much for sharing your knowledge and experience!