Advice

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Viewing 15 posts - 16 through 30 (of 447 total)
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    Advice
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    BMAT’s website is pretty annoying and a turn off. You can’t get any information without going through a sales lead generation thing. They really have to simplify things to “What do you do and how much do you charge?” I understand that for big publishers, a personalized quote may be needed. But in general, the site is a sales & marketing disaster (not said meanly, just honesty). I wonder how many visitors leave right away because they can’t figure out anything from the website. BMAT may have great services, I don’t know. But MHO is you have change your web presence to get anywhere. I could be wrong there, I know. PS I am not in the website development business, not selling anything.

    in reply to: Identifyy #43349
    Advice
    Participant

    If songs are in regular Audiosparx (not Radiosparx only), you can’t put the songs with content ID services such as Identifyy. AS does the content ID management for those tracks and it’s a clause in the agreement. Personally, I don’t care as long as SOMEONE is doing it. I don’t add tracks to Audiosparx anymore, haven’t for a long time. I created a new artist on my account and made that artist “Radiosparx Only”. I learned that by asking AS how to do it. However, you can’t put songs already in full Audiosparx with the initial artist into the Radiosparx Only artist.

    Songs that are with a Radiosparx Only artist are free for you to manage content ID with on your own as RS is in-store audio play only. For more info, contact AS.

    HTH

    in reply to: April ASCAP Domestic Writers Payment #43318
    Advice
    Participant

    I think comparing our quarterlies in terms of increases/decreases with other composers doesn’t work because there are too many varaiables. If I have some network TV placements 6-9 months before the payout, it will go up significantly. There can be a flurry of activity on reality TV show reruns that use one person’s tracks, but not someone else’s. Our trends would probably only parallel each others if/when there is a widespread industry issue over many months. The current writers & actors strikes could be such an issue whereby everyone sees a drop a few quarters from when it started. But for the most part, trends will vary quite a bit from person to person.

    in reply to: Music Libraries / Upfront fee #43246
    Advice
    Participant

    What type of music do you do? There are some vocal song libraries that get sync fees. Also, sync agents. Work has to be top notch. I’m not sure if I can mention names on the forum here- I think that’s limited to members who pay to read library info. For cues, buyouts are out there but generally if you build a relationship with a library such that they really want you tracks.

    As Art said, upfront fees are tough to get these days. Tell us more about the kind of music you do and what kind of success you’ve had so far.

    Best

    in reply to: Maximising Royalty Income – Create a List? #43192
    Advice
    Participant

    @mamster
    I went to the BMAt website and found it to be one of the most confusing, unclear sites I have ever visited. I still have no idea what the company can do for me as far as detections and there does not appear to be any pricing info. Not being mean honestly, but this is a textbook example of how not to design a website.

    in reply to: Reality check — How much can you earn? #42324
    Advice
    Participant

    Or be like me… Lose money on every song but make it up in volume. 😉 [laugh emoticon here]

    Advice
    Participant

    There is no simple answer to the question of which libraries to submit to. There are hundreds, probably thousands, of libraries. They differ in lots of ways. And everyone’s experience with specific libraries is different.

    Use this site to read about libraries. You can only see the library section if you join MLR. You can try a week for $24.95 to see if it’s helpful to you. I’m not giving you a sales pitch here (I have no reason to), just stating facts.

    in reply to: Cue sheet incorrect time lengths #42322
    Advice
    Participant

    The library is your first point of contact for getting it fixed. Cue sheet errors happen. While most PROs like ASCAP don’t accept Tunesat detections as evidence of placement, it helps you go back to the library and ask about something that doesn’t appear to be correct. Since they get paid the same as you, they *should* look into it.

    One time I picked up a major network placement on Tunesat but a year later, still no cue sheet. Having seen that detection got me to ask the library who contacted the show to get it fixed. It was a cue sheet error whereby they swapped out tunes at the last minute (I think I was a last minute switch) but didn’t document it correctly. Tunesat is not perfect (at all!) but sometimes it can find you money.

    in reply to: Different Stage Name for each Library #42317
    Advice
    Participant

    Do the different names have difference CAE/IPI numbers? If they are different, the library only needs to have that name and IPI number and nothing else matters. If they are the same, it can create confusion and it’s really a bad idea to have so many. I wouldn’t tell the non-exc library owner that you are in 8 libraries, especially if it’s the same tracks. While you are allowed to do this (many of us do), it’s not a positive with the library- a possible turnoff.

    Why the heck do you have so many names to begin with? Do you have an artist career that you want to keep separate from your Film/TV work? That’s the only reason I (personally) can think of for more than one name. My suggestion is clean this up and get it down to 2 names. Way too messy.

    in reply to: How long should my stingers ring out for? #42314
    Advice
    Participant

    It’s better to have too much than too little, as Art said, the editor can always fade or chop early. That definitely applies to 30 and 60 sec versions. With a 10-15 sec stinger, however, an 8 sec ring out might not leave room for other material in there so go by how it sounds in terms of visualizing the end of a scene. You might want to cut a few secs off that ring out.

    in reply to: Jingle for local business – what to charge? #42313
    Advice
    Participant

    test – please remove

    in reply to: What’s the path from Library Composer to Theme Tune? #41665
    Advice
    Participant

    Practice, lots of practice. 😉

    Advice
    Participant

    @Art >>>> “Worth the hassle. I’ve only been with Identifyy for 8 months and earned nearly $1k so far. I’m sticking with it. And, you can opt-out at Songtradr”

    What I don’t understand (naive here) is, since I don’t work much with RF libraries, mainly broadcast TV ones (e.g. Cru for vocal songs, SK & JP, etc. for instrumentals), how would I get a lot of usages on YouTube, etc? That’s why I wonder if there’s really any money in it for me. Please let me know if I have this wrong.

    😀

    in reply to: Library Submission Follow-up Advice? #40966
    Advice
    Participant

    If your submission was not a response to a personal request sent to you, I think 2 weeks is too short a period of time to send a follow up email. MHO is more like 4. If they specifically asked you for something or it’s a requested mix fix, that’s different.

    Most libraries hate those follow up emails, the exception being ones you have enough established relationship and track record with to go that route. I would definitely not do a 2 week follow up on a cold submission.

    MHO ?

Viewing 15 posts - 16 through 30 (of 447 total)
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