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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.
Hey Dan
I’ve worked with Glow and had a nice placement by them around 1-2 years ago. They actively pitch and continue to get good placements. They are highly selective and reject a large percentage of what is submitted. I don’t know much about instrumental cues with them but my *guess* would be if it has excellent licensing potential, they’d be interested. Probably not the place for typical reality TV cues, more likely very syncable instrumentals.They only seek sync fee deals which they split with the writers and take no publishing.
HTH
Glow Music Group is a sync agency, not a library. As far as I know they are NON-exclusive as I have some songs with them. I had one nice placement with a decent sync fee. They do not take any publishing, only a split of sync fee.
EXTREMELY selective. If you got any accepted, you have some excellent sync-worthy material.
HTH. Good luck!
I think it’s best to start with the library who made the placement.
Monkeyman
I actually agree with the person who was hiring you. The whole idea of a WFH is one fee, they own everything, and you get no additional royalties or payments of any kind.
Keep in mind that the WFH contract *might* have to be shown to others that the client is working with and any encumbrance on rights, ownership, future liabilities, etc. can be a show stopper for them. They could end up involved in a lawsuit, for example. I’ve seen music libraries refuse songs if the WFH agreement had any other obligations of any kind.
So if you’re not comfortable with that price and nothing else, you can see if you can get a higher fee. But it should be a once and done thing. Take it or leave it.
Best,
CaseyMost successful libraries have plenty of great music and do not need to cold call to get more. They usually have way more submissions than they can handle as well as a darn good catalog. It would be a rarity that a solid opportunity would come from a cold call like that.
Delete and move on.
Best
Often being a little fish in a huge pond isn’t the best option. The best ones for me have been smaller, more boutique, ones that have good relationships with a number of TV and film music sups.
Of course even with the libraries that “actively” seeking placements, tracks can linger for months, years, or forever without a placement.