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It has nothing to do with RF libraries changing their policy and everything to do with youtube’s TOS. You can’t put music into content ID that is in both JP and SK, either. It must be exclusive.
Absolutely correct and what Dave is advocating is fraught with potential problems!
But doesn’t the content uploaded to ADREV have to be exclusively owned by the music library? Most RF companies are non-exclusive. They cannot legally participate in this. Only the composer can do so.
It is too much fuss for me. Many of these RF sites are just parking lots for music. There is little money to be earned from selling tracks. Now I have to worry about people buying my music for $20 (of which I only get $10) getting in trouble? That is a horrible system for composers and customers!
I would rather work exclusively with RF companies that review my demos for quality and that actually work to get placements for composers. This other stuff is a bit of nonsense.
A successful YouTuber is going to want to monetize the video, so you wouldn’t get any AdRev money.
So I would need to monetize my own popular videos?
I think the people making $2,000 or more per month from ADREV are creating videos and adding their own music. There are some people that post videos on YouTube and make thousands of dollars every month from having people view the ads on their videos.
So the money isn’t coming from the music. It is coming from having music on videos that get a ton of views. Videos with music that only get a fee hundred views will not any significant money.
So the best goal for someone looking to cash in from ADREV is to add one’s music to videos that get a lot of views. Instead of making my own videos, I could just beg someone already famous on YouTube to use some of my music in their videos and wait for the money to roll in. Just give the music away for free and make all the money from the YouTube royalties. That might be worth a shot.
Interesting……
Dave, are you making $2,000 to $5,000 a month from ADREV?
I am not going to worry about ADREV or similar schemes. I am keeping my music out of sites that participate in ADREV. A lot of libraries participating in this system either do not understand it or are purposely adding music without permission. In either case, the small money earned isn’t worth the hassle.
Evgeny,
That situation does suck. I am assuming this fellow purchased your track as RF, then did this? If so, I would approach him first and make sure he knows that this is a violation of copyright. He might not know that it wasn’t within his rights. Yes, these people exist. If your contact with him leads nowhere, contact the publisher(s).
And this is not legal advice, nor have I ever played a lawyer on TV.
More and more libraries (especially new ones) won’t pay anything for music.
Especially if they are splitting the license fees with you.
Tell me about it. LMAO!
But that is the current state. Either get some money upfront and give up on licensing fees, or get no money upfront and split licensing fees 50/50. Changing times.
I have no idea how anyone can look themselves in the mirror and feel good about themselves when they deliberately give away hundreds of cues to YOUTUBERS, AND pocket 100% of hundreds of license fees in the $25 to $499 range off the backs of writers.
Unfortunately, this happens a lot more often than you think.
hi, sorry for posting this here, but does anyone know an approximate figure of how much a track would sell if someone wanted exclusivity on it?
Start at $500 per track.
If a cable placement that will pay $5 is missed, I would let it go. Where is the line?
Depends on how often a show repeats and the network.
By the way, in my experience the good network placement cue sheets always get filed and usually on time. It tends to be the low paying placements that get missed.
Generally true but not always. MLB and Fox Sports, which pay well, have been problematic.
Do you follow up with your PRO? And let them know what was missed and attach screen shots of your tunesat detection?
Follow up with the library first, then the PRO and include a Tunesat spreadsheet with the detections. The Affidavit URL is important.
Usually it’s only a few quarters.
BMI 3 quarters back but once you open a query it stays open. At least that’s what I have been told.
I read awhile back that ASCAP does not accept Tunesat detections as proof for royalties due. If that’s true, you might have to contact the library that made the placement to see about the cue sheets. Of course, if you have the same tracks in multiple non-exclusive libraries (as I do), you probably wouldn’t know which library to contact.
Neither does BMI. You would have to be discreet and polite if you have many libraries and it does require some detective work but why leave money on the table? Each individual has to decide what is the best use of their time.
I just wait for the cue sheets to show up with my PRO.
Besides I’m already not too happy that they make composes construct invoices for sales they know they owe for. Seems that should be their job but that’s another conversation.
That doesn’t make sense. Is this company lucrative for you? If not, you should consider pulling your music if at all possible.
So, at what point does it make most sense to follow up to ensure that the cue sheet has been filed?
I wait 2 quarters.
