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Ah… I’m going to catch a cold from all this great ‘exposure’… 😛
Just got some Tunesat detections for placements on HGTV and The Food Network. I’m know that these Scripps channels pay no back end. Has anyone every received any front end, such as a pro-rated share of a blanket fee?
I had a placement on Travel by Audiosocket a few years ago and I got a small (VERY small) portion of a license fee– less than 20 bucks for a minute of music. I think these recent detections are placements via JP. Has anyone every received any money from JP for Scripps placements?
Michael’s a lawyer, but we like him anyway. 😛
I am about to join the Copyright Society of the US.
I am about to join the Procrastinators Society of the US. But maybe tomorrow… 😉
(Many libraries look down on RF composers).
I don’t think that’s true. Libraries look for good music from reputable people. Period. If you send a traditional library some tracks and you also happen to be an RF composer, they’re not going to turn down the tracks simple because you write for RF libraries as well.
And think about it. Many successful composers who make a living at this have a diverse portfolio with tracks in RF, NE, and Exc libraries.
You may need to put some tracks in both types of libraries to “test the waters” and see where your niche lies.
One thing I’ve learned is the types of tracks that do well in broadcast libraries such as BG instrumentals for cable reality TV shows, don’t always sell well on RF.
Personally, I have no problem putting tracks in both conventional NE libraries and RF. I usually fully re-title the version for RF to minimize “competing with myself” out there. Some even use an artist pseudonym on RF sites.
YMMV
I’ve used Switch for many years, though I don’t batch. I love the program and never had a problem with it. It’s fast (especially when compared to iTunes!) and easy.
Question on that, Art… My understanding is that US publishers (e.g. libraries taking publisher’s share) need to have publishing companies set up for the PRO’s their writers are affiliated with, usually ASCAP or BMI. I know most publishers have both an ASCAP and BMI publishing entity. But do most also have one for SESAC? And if not, can they work with SESAC writers? Has anyone encountered a problem because of this?
Thanks 🙂
The truth is that I am very proud of my work and also humbled by my success. If someone would have told me five years ago that I would have music on almost 100 different TV series and would be earning thousands of dollars in royalties, I would have not believed it.
Good for you, DI. I feel the same way, honestly. Thanks for being a good sport on the humor. 😀
Jay, sometimes posts go into an “awaiting moderation” queue.
But then you would lose the link if you had posted it somewhere or to someone. So I guess in that case, it is quite a useful thing to have.
Yup… And lyrics if it’s a song as well as tags. I often put the lyrics in the song description. It’s nice to keep it all as is and just re-upload a new mix. I’d hate to give someone a link and then the link go invalid by my deleting the old and uploading a new track.
The mid-tier level allows you to re-upload an audio track, keeping everything else the same. The free version doesn’t give you that. I find that very useful in that I can replace the audio with a newer mix, keeping the same link to the song. For ME, that’s worth paying for.
Based on my bank deposit, I had a really good quarter! I’m very pleased.
The strategy I put in place 18 months ago is paying off big time. 🙂 I researched all the ASCAP registrations for DI. Then I submitted as many tracks as I could to the libraries he has songs in. I figured if they accepted his, they’d have to accept mine and sure enough they did. Fantastic! Ever since, the placements started rolling in!
Riding DI’s coattails!
😛 😛 😛I have been busy with a million other things since the holidays.
So many forums, so little time…. 😛