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Personally, I would never give up a copyright for $200 but someone else might feel differently.
Bah, humbug! 🙂
I might add that we were all confronted with the tediousness of it when we first started but have learned to adapt. 🙂
Hi Chris,
There was one a few years ago called ISYNDICA but they went belly up after a year or so. I think there are just too many formats, too many libraries and not enough composers willing to pay for it.
I’m using the Mackie HR824mk2. I think I liked the older ones a bit better but mine got trashed so went for these. As important, if not more, is getting your room tuned as best you can. I use Real Traps and a DBX Drive Rack Studio to “pink” and EQ the room.
You can first copyright your songs but the reality is that there is no fool proof way to protect your songs from being misused. Someone may use it even if copyrighted. You may never know it unless it became a huge hit. In that case your copyright will protect you. There would be enough money involved to go after the perpetrator and prove you were the rightful owner.
Practically speaking there is a certain amount of trust involved in life as in business. I’d like to think there are more good guys/gals than bad.
Just my opinion and you should contact an attorney.
S0…in a perfect world: the PROS would still use cue sheets for usage and publisher information AND they would use fingerprinting to gather performance data.
In a more perfect world all the data would be embedded in the performance and automatically transmitted to the PROs.
My understanding is the term “semi-exclusive” means the deal is exclusive only to film/TV pitches or only with respect to other music libraries.
That’s the way I understand it also.
There are two general types of exclusive deals. One where you give up your copyright in-perpetuity. The other where there is a limited term to represent the music exclusively but copyright ownership does not pass.
Hi Eric,
This has been discussed at great lengths here and everyone has an opinion. Personally I’m not worried about my non-exclusive tunes “withering” away. Most of mine are signed non-exclusively.
BTW this is my opinion only and not meant as advice. You should do your own research and consult an attorney for guidance.
I do have one library that does the publishing, but I understand that this isn’t a problem.
Am I doing this right?
If that publisher is non-exclusive and re-titling in some way you should be good.
P.S. Another question: If I make a mistake on putting input in the works catalog at BMI is there a way to fix it after it has been submitted?
E-mail: reviseworks@bmi.com
Also see this link: http://www.bmi.com/creators/updateworks
So to bring the conversation full circle…what happens to tunesat when the PRO’s have their own fingerprint systems. It remains an expensive way of checking up on the PRO’s?
Tunesat gets bought out by (or partners with) a PRO.
I think Blind has got it right. The PROs will phase in the new system, the old will age out and we will be uploading our song files to the PROs.
P.S. I have not figured out the red bar thing for quotes.
Just above the “Reply” box you should see a “b-quote” button. Click on that and cut and paste the text you are replying to. Now you should see a “/blockquote” button. Click that and you have surrounded your text with a blockquote tag and /blockquote tag. You can also type these tags but each tag needs to be preceded by a < and end with a >.
The show name does not ever match the infomercial. So you don’t know who did it.
Many times there are schedule changes so the show names don’t match. It should reconcile after a period of time. I listen to the detections and can usually pick up the name. Found a Subway, Footbliss and Zumu.com commercial that way. Then it’s a matter of doing some research. Calling or e-mailing the company to get the production company’s name, getting a copy of the license and commercial, e-mailing all to BMI’s jingle dept.