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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
@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.Or be like me… Lose money on every song but make it up in volume. 😉 [laugh emoticon here]
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.
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.
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.
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.
test – please remove
Practice, lots of practice. 😉
@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.
😀
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 ?
Thanks for the info, Art. AFAIK for me, I get very few placements that would generate this type of income. But I shouldn’t assume that’s the case for everyone. 😀
Everyone I know who does mainly vocal songs and switched from ASCAP to BMI has been glad they did. With cues, YMMV depending on what channels, what shows, track length, phase of the moon, etc.
I find the whole Content ID thing such a mess, I usually opt out of it everywhere. My experience is the pennies you might earn aren’t worth the hassle.
In theory, only ONE entity can manage your Content ID. So if you want that to be a particular non-exclusive library, opt out on all the rest including Songtradr (if they allow that). Or let Songtradr do it and opt out everywhere else.
I posted a reply here and got an error message. I think it’s lost now. 🙁