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@abellboy great topic and great point. It seems to me that AI is always looking backwards. So, staying current with the latest musical trends would be difficult if not impossible.
I have had a captcha on the site for years and nothing has changed with the login routine.
Captchas are used to prevent spam. MLR has been plagued by it over the years and it’s the reason I don’t allow anonymous users any more.
If you clear your cookies and cache constantly you will always get hit with a captcha. Once logged in, and you don’t clear your cookies and cache, you should be good for future logins. If not, let me know.
Topic closed. Questions on this library go here:
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Switching your writer’s affiliation from ASCAP to BMI can be a bit complex, especially when the publisher remains with ASCAP. Here are some key points to consider:
1. Existing Works: You have two main options:
o Leave Existing Works with ASCAP: Your existing works can remain registered with ASCAP, and you will continue to receive royalties from ASCAP for those works. New works would be registered with BMI.
o Transfer Existing Works to BMI: This can be more complicated, especially if the publisher is still with ASCAP. Both you and the publisher would need to coordinate the transfer, and the publisher would need to update their records with BMI.
2. Publisher Coordination: If the publisher is an ASCAP member, they would need to agree to the transfer and update their affiliation for those works. This can sometimes be a hurdle, as it requires mutual agreement and administrative work.
3. Royalties: If you leave your existing works with ASCAP, you will receive royalties from ASCAP for those works and from BMI for any new works. This means you might receive two separate royalty checks.
4. Consultation: It might be beneficial to consult with both ASCAP and BMI directly to understand the specific steps and implications for your catalog. They can provide detailed guidance based on your situation.
Switching PROs can be a strategic move, but it’s important to ensure all parties involved are on the same page to avoid any disruptions in your royalty payments.
1. Just listed the here, thanks for the update: https://musiclibraryreport.com/h-to-l/hitpoint-music/. Please leave questions there.
2. You can add libraries here: https://musiclibraryreport.com/add-libraries/. Link is in the footer.
3. Closed/out business libraries get sent to here: https://musiclibraryreport.com/category/r-i-p-graveyard/
I would say the majority of the forum topics and replies are still relevant. Many people would discount the info because of the date.
YouTube ContentID can recognize short clips. But, I would imagine if it’s too simplistic, or similar, you could get false positives or negatives.
Please leave any questions about Musicbed here: https://musiclibraryreport.com/m-to-m/musicbed/
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@mmuser. I don’t have an answer or you on whether you should upload 30s and 60s. I felt that I wanted to and did so.
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I uploaded all of our cues, plus alts, (a few thousand tracks) to Identifyy a few years ago. I’m also only in non-exclusive libraries. To this day I have never had an issue with ContentID and buyers.
Identifyy has been a nice source of extra income.
@gen5020. Yes you need your tracks in Identifyy to collect. It can be a long process, if you have a large catalog, but well worth the effort.
Yep, that’s what we did. A living trust and assigned all music related matters to a company that does music administration.
There are companies that will administrate for a percentage.