[Art Munson]

If you have mutiple non-exclusive song deals out there with many companies ( maybe 900 song deals with 30 companies ), will signing up your songs with Tunesat end up being a helper or a ball breaker. I know nothing about Tunesat besides that there is a fee to register your songs. I have always relied on my PRO (SOCAN) and in Canada and also BDS and the USA Soundexchange to collect my royalties…Am I missing out on revenue by NOT being signed up at Tunesat ???

[Art Munson]

Tunesat is actually easier if the track is exclusive. With non-exclusive you have to do a bit of detective work to find out who placed the track

I see now – thanks!

[Art Munson]

How do you make tunesat useful when you have two titles for one fingerprint? Or is Tunesat useful mainly for non-exclusive music?

Tunesat is actually easier if the track is exclusive. With non-exclusive you have to do a bit of detective work to find out who placed the track. Challenging but can be done.

[Art Munson]

Thanks again Mike and composer,

won’t be able to tell you which library placed the track

it’ll report based on that particular filename

okay… that makes sense. It leads to a bigger question:

How do you make tunesat useful when you have two titles for one fingerprint? Or is Tunesat useful mainly for non-exclusive music?

[Art Munson]

thank you Mike, thank you composer,

Tunesat is matching what it “hears”

It detects the track, not the title

How does tunesat know the title of the track if the track is with two libraries and has two titles?

Thanks,
Paul

[Art Munson]

bump

[Art Munson]

Thanks Dave.

[Art Munson]

My experience with them is that they use a company called Music Reports to directly license music. They will try to get you to give them a gratis license but don’t let them:)

[Art Munson]

At this point I wonder if there is any hope for music, as a business, as practiced back in the “good old days”. That genie is out of the bottle and not going back in. It behooves us all to find our own personal “angle” to be successful in today’s music world. Of course as in any business, in any time frame, it’s a continually moving target.

[Art Munson]

The downfall started before I got in the game.

I find it a bit offensive for people that have been at it for decades to sit on a high horse and look down on younger people for dealing with the cards that have been dealt. Who in their right mind would ask for no upfront money and declining backend fees?

These lecturings are getting old and tiresome. People are pointing fingers and blaming one another for circumstances outside of their control. It gets silly after a while. If older composers have a problem with the industry, they should be inventing the solutions. They should not be sitting back and saying “look what you are settling for”.

What are the solutions?!? Until I hear the solutions, I am not going to take any more words of wisdom too seriously. It just makes one group of people attack another. In the meantime, a small group of people are making money from the whole ordeal.

Continue to tear people down for trying to make living. It must feel good to snicker at others trying to make a way through these rough waters. 🙁

[Art Munson]

Haha, fair enough. Yea, best to get advice from a trustworthy accountant. Maybe we should have put that and closed the thread hahaha!

Good idea and done so!

[Art Munson]

Estate sales and thrift shops are the best for finding old and odd instruments on the cheap. I’ve got a thrift shop near me that I walk to when I need a break. In the last few months I’ve picked up a 60’s Oscar Schmidt Autoharp (20 bucks), an ancient Marxophone (10 bucks) and most recently a pair of 60’s Calrad dynamic mics (30bucks). Unbelievable what some folks throw/give away!!

[Art Munson]

Thanks Chuck; I do use Sample Modeling, however all my trumpets are real and I play all the SM instruments with an EVI wind controller.
Here’s a link of me playing it https://www.youtube.com/watch?v=EURbmYwGk2k

Eb

[Art Munson]

I would do a deal giving away part of the writer’s share for cues that were fairly easy to knock out. Styles like hip-hop and EDM come to mind. These are cues where I could knock out at least one cue a day.

Sometimes it is easy to write, submit, and forget about certain cues. But I would definitely would not write any trailer or underscore music for this kind of deal. Songs that take more effort deserve more compensation.

[Art Munson]

Here’s my new site: http://bolvinmusic.com/eric-bolvin-music-listening-room/

[Author]

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