[Art Munson]

I’ve been doing this for a year or two now but not really promoting them. Not much on my end with this approach but I could work harder at it.

[Art Munson]

@yzzman1 Thanks for that update. I don’t know what is going on there. I will leave this topic up to warn other people, and take down their ad.

[Art Munson]

@yzzman1 try this bobbycole@catch22media.co.uk

[Art Munson]

@yzzman1 have you tried this? https://melodyrights.com/contact

[Art Munson]

@Alan. Yes, we have some of those high paying game sites. Hope they don’t go away.

[Art Munson]

@Alan: From my new friend ChatGPT :-). It gave me a long winded reply which I asked it to pare down. I read it over and it makes sense to me. Something we all have to look out for those of us that have been around for awhile with a lot of music in various non-exclusive libraries. This hasn’t hit me yet but it may.

Here’s what Identifyy’s message means in practical terms:

Your track was removed because YouTube flagged it for generating **erroneous copyright claims**—meaning Content ID was detecting your music in videos where it *actually wasn’t*. When enough false matches occur, YouTube requires Identifyy (or any other Content ID partner) to take the asset down to stay in compliance with their rules.

This doesn’t mean there was anything wrong with your account. It simply means that this particular track triggered Content ID confusion. The most common causes are:

* The track is also available in **non-exclusive or stock libraries**
* The same audio exists **under multiple titles** (retitles)
* Parts of the track use **popular loops or samples** that appear in many other songs
* There were videos online using the music **before you registered it**
* Another composer’s track had **similar audio elements**, and Content ID couldn’t tell them apart

YouTube has gotten much stricter over the last few years, so when a track produces too many incorrect matches, Identifyy is required to remove it. It’s not a penalty; it’s just part of YouTube’s compliance process.

If you want to avoid this in the future, the best approach is to only upload tracks to Content ID that are exclusive, fully original, and not distributed in multiple places. Tracks that are non-exclusive, retitled, or use widely-shared loops can easily trigger false positives.

[Art Munson]

@LAwriter. Great post and so true. If you want a job in creating/making music, learn how to prompt! That’s were I have been spending most of my time – either in film making, content creation, image creation, coding, music creation and more.

[Art Munson]

Thank you for your feedback LA writer. Technology is a double edged sword!

[Art Munson]

I’m interested in your post because i was wondering if anyone was making any money selling music for licensing anymore nowadays, with a saturated market and introduction and development of AI music. I used to be licensing tracks every week years ago, but its now dropped off to virtually nothing. Interested to hear anyone’s feedback.
A lot of new websites seem to be geared more to be hooking composers in on the pretext of licensing opportunities where the initial uploads are free and then guess what, the composers have to pay for ‘priority pitches’!

[Art Munson]

@Tunesmith Check these links:

https://musiclibraryreport.com/forums/topic/the-pitch/

https://musiclibraryreport.com/music-services/music-gateway/

[Art Munson]

@LAwriter +1. I’m with you. AI music has gotten awfully good and will only get better. I’ve been singing again and releasing songs. Not expecting much but a lot more fun!

[Art Munson]

Thanks Art! I’ll try to find a lawyer, if I manage to find one that has experience with the music business.

[Art Munson]

@EdTr: Generally WFH contracts are a bad deal and you no longer own the song, unless they are paying you a HUGE sum upfront. You need a lawyer!

[Art Munson]

*******
Clause 2.3 seems to say that if they for any reason choose to break the contract, you still have to give them all the completed and partially completed tracks. So, even though, at least to my knowledge, they probably aren’t paying you any upfront fees in advance, and even though they are breaking the contract (which means that they won’t pay you any money if the tracks are used), you are still under obligation to hand them over your tracks for free.

Clause 4.2 says that you are working under a work-for-hire agreement. As far as I know, such contracts are usually used when you receive a large upfront fee in return for signing over all the rights. But as far as I know they aren’t giving any upfront fees and they still want a work-for-hire agreement. Is this the case with most of the other production music libraries as well, or is this library giving particularly bad terms?

Clause 5.1 says that you receive 50% of the library’s NET receipts, but it isn’t defined at all what they are allowed to deduce from the Gross receipts to arrive at that, which leaves room for “creative” bookkeeping that would allow them to deduce their employee wages and who knows what else and just give you something like 5 or 10% of Gross receipts for licensing. Do most other libraries also give terms like this?

Clause 5.4 says that you won’t receive a share of any blanket payments that they receive for licensing, which would mean that if they now or in the future choose to offer clients a subscription-based or a blanket-fee model, they wouldn’t give their composers any share of the earnings.

As I have said above, since I have no experience with other libraries, I would like to know whether these terms are worse than average?

[Art Munson]

10. No Obligation to Use Music or Exploit Project
Nothing contained in this Agreement shall be deemed to require ________ or its assigns to publish,
record, reproduce, or otherwise use the Compositions, any part thereof, or any of the proceeds
of Composer’s services hereunder, whether in connection with the Project or otherwise.

11. Independent Contractor
Composer is, and shall be considered at all times, an independent contractor and not an
employee of ________. Composer shall be solely responsible for, and shall indemnify and hold
harmless ________ from and against, any and all claims, liabilities, obligations, demands, losses,
damages, costs, and expenses (including reasonable attorneys’ fees) arising out of or relating to
any employment taxes, withholding taxes, social security taxes, unemployment taxes, workers’
compensation insurance, disability benefits, or any other obligations or liabilities generally
associated with an employer-employee relationship.

12. Assignment and Succession
________ may, at its election, assign this Agreement, or any of its rights or obligations hereunder, in
whole or in part, to any person or entity without Composer’s consent. ________ may also assign its
rights hereunder to any of its licensees to the extent necessary or advisable in ________’s sole
discretion to implement the license granted. In the event that ________ assigns such rights and/or
obligations to any person, firm, or entity acquiring a substantial portion of ________’s assets or any
other financially responsible third party, ________ shall be relieved of its obligations hereunder. This
Agreement shall be binding upon and inure to the benefit of the parties hereto and their
respective successors and permitted assigns. Composer may not assign this Agreement, or any
of its rights or obligations hereunder, without the prior written consent of ________, which consent
may be withheld in ________’s sole discretion.

13. Entire Agreement; Amendment; Waiver
This Agreement constitutes the entire agreement between the parties with respect to the
subject matter hereof and supersedes all prior or contemporaneous communications,
representations, or agreements, whether oral or written. This Agreement may not be amended
except by a writing signed by both parties. No waiver of any provision of this Agreement shall be
effective unless in writing and signed by the party against whom the waiver is sought to be
enforced.

14. Severability
If any provision of this Agreement is held to be invalid or unenforceable, such provision shall be
struck from this Agreement and the remaining provisions shall remain in full force and effect.

[Author]

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