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I think there is a good chance that for things like “lower tier” cable tv reality shows, etc., once the legalities are resolved, sups will use AI music for background cues. I don’t know how long that will take but they certainly will go with whatever is least expensive. They already pay low (or zero) blanket fees to libraries and, for a long time, libraries have given in to TV production companies taking 50% of the publishing.
When I say “lower tier”, not a judgement, just a descriptor. I’m thinking of some shows on TLC, etc.
As to whether this will take months or years, no idea.
I don’t think *RIGHT NOW* AI is a threat to the higher end of the market, we’ll see.
Hey Art
A lot of libraries specifically say they won’t sign anything if AI is used to generate any tracks. I don’t know if that includes doing your own singing and having the voice changed with AI. It could be problematic. How do we know the voice they use isn’t a rip off of (or too close to) some artist’s voice? Or too much the same as a lot of other tracks? I’d tread carefully.🙂
Anya
If I understand correctly, your deal with the retailer is direct, not involving a music library. Is your agreement with them exclusive or non-exclusive? If it’s exclusive, you cannot put the track in a music library (or pitch it anywhere else). If it’s non-exclusive, you could place the track in non-exclusive libraries. The ones you mention may be exclusive. I know SK is, not sure about AM. You could look that up here on MLR. You absolutely should register your track under original title (the title used by the retailer) with BMI as you might be leaving back-end PRO money on the table. If you sign with a non-exclusive library, they will register it with your PRO with a modified title such as “PREFIX-Your Title” to allow them to collect the back end for only their placements.I would absolutely NOT try to renegotiate your current deal!!! You are getting a nice income stream of $1750 per month ($21K per year!!). Very few of our tracks ever make that kind of money. CONGRATS! Don’t mess with what’s not broken. Attempting to renegotiate could end up with them dropping you and it’s not worth the risk.
HTH
😀I’m not a lawyer but AFAIK, class action lawsuits are expensive and complex, require a very large number of participants, with the litigants usually ending up with a trivial amount of money each. I’ve been the recipient of settlements of $3, 3 months free subscription to something, etc. The legal fees eat up the money.
It would seem to be that if you are dissatisfied with P5/Shutterstock (and you have reason to be so), the best thing to do is to simply pull all your tracks and move on.
JMHO. That doesn’t at all mean I condone what P5/Shutterstock is doing and I will most likely shut my account down.
Hey Candy
Question: Do you even know the ballpark $ they might offer? Budgets vary widely. Do you have reason to suspect it will be anywhere near $18K?Make sure you have a really good reason to switch. While BMI pays more on some placements, ASCAP pays more on others. In general, vocal songs pay more with BMI but even with that, I’ve seen exceptions.
The best thing to do if you switch is leave your existing catalog with your ASCAP writer and publisher and put future ones with a BMI writer and publisher. However, there is specific timing as to how and when you do it, so consult with both PROs. Good luck!
Disco is becoming more and more the standard. www dot disco dot ac
I hate Soundcloud. If you don’t make your links private or pay for a big upgrade, the receiver of your link has to listen to ads. And if the links are private, they won’t play on iPhones. Pain in the a*s. And, of course, piracy from SC is rampant.
I strongly recommend switching to Disco.
Yes, it could be a promo as said. Also,Tunesat often shows the wrong episode for cable channels, especially MTV. Not sure why. Might be last minute schedule changes by the channel. I used to get excited, thinking I had a new placement and quickly realized you have to listen to the clip to see if it’s really something new.
As Art said, check with that non-ex library to see what the terms are. I know audiosparx collects content ID and if you have a track there, it shouldn’t be in Identifyy. Other libraries may handle Contend ID and even do it without telling you. If the library is not doing it and they are the only library the track is signed with, talk to Identifyy.
Good luck!
Hey Composer
Glad you know what you need and the cost. Apologies if I implied otherwise. Questions like this come from people of all experience levels. I have no experience with the other companies you mentioned as far as reliability of detections, etc. Hopefully someone else here (Not is sales from one of the companies) can chime in.Best of luck!
Hey Composer
First thing first. Do you have a sizable budget to spend for a detection service? You have to have quite significant income to make paying the prices worthwhile. Tunesat offers the free account with up to 50 tracks. I don’t think the other services have anything like that.Also, keep in mind that not all PROs accept detections like these as proof to get paid. I know ASCAP doesn’t. Most of us find these services just for fun and getting to know about some placements long before our PRO statements come in.
Detections with Tunesat can be hit & miss and I can only assume that will be the case with other services. I could be wrong there. I find it picks up certain cable channels very well and misses a lot of network (CBS for example).
I looked into BMAT and I found the website very confusing- hard to figure out what the whole company is about. I had trouble getting pricing for detection service and when I finally did, I remember it was pretty expensive.
So… What is your goal with a detection service? What do you think you budget would be to pay for one?
This stuff always confuses me and I don’t look at it much because (1) I am not an artist and (2) Often, it’s pennies for a lot of admin work. That being said, can someone address whether it’s OK to use these services for tracks that are in exclusive music libraries?
MLC
SoundExchange
Neighboring Rights OrganizationsAlso, which apply to writers/composers vs. performing artists?
This may be addressed elsewhere on MLR, feel free to point me. Some simple answers to the above, without legal terminology, would be great.
Thanks!
Do you mean a sync agency/agent? It’s very good working with one as they (generally) only go after placements with an upfront sync fee. Some don’t even take publishing share, just the sync fee split.
That being said, they are highly selective, even more so in most cases than the selective libraries. You need to have top notch tracks that are sync-worthy.
HTH
Hi Lila
I’m not comfortable giving out email addresses publicly so…
Go to their website’s Contact Us page, drop them an email asking how to submit music. GlowMusicGroup dot com. It’s probably best to briefly introduce yourself and provide a website link so they get a feel for what you do.HTH!
😀Sync agents only go after higher end placements that always have a sync fee. Their income is generally all or most from sync fees. It varies, but they often don’t take a publishing share. Some are exclusive, some not.