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Not for me on Univision. You can also check here for the paying networks.
I never received any payments from the Outdoor Channel. Anyone else?
Hi PAMMusic. I would think that it would go to your PRS account but I’m just guessing. Have you contacted your PRO to ask them?
@maxquaini. Yeh, I kind of agree with you. I have it pretty well automated for MLR and tried it with music. Works pretty well for MLR but I think is a waste in the wasteland of social media. Just too much stuff out there. Personal contacts will always be the better way to go, IMHO.
Thanks MM_Musicworks. That’s quite a story. I’m sure that NYT reporter would not be happy with people plagiarizing his work for money. Shameless!
This is a subscription site. I just listed here: https://musiclibraryreport.com/t-to-z/motion-array/
They are few and far between. You would have to do the leg work and work through the high end libraries. Best to have a compelling project that covers something they do not already have.
The other thing that came up is how does the “master” hosting space make their money? It would have to be enough to make it worthwhile.
We tried this here on MLR, with a number of composers, working with LicenseQuote. The biggest problem we ran into was who was going to be “allowed” in the library. The thinking being it had a tendency to be elitist. Who was going to make the decision on who would be allowed into the library? A committee? After a while it proved to be unworkable.
@D.G. Norris. First choose a PRO (Performing Rights Org.) you want to affiliate with. Either BMI, ASCAP or SESAC. Contact them on how to join, there should be info on their website. Register your songs with the PRO you choose. I wouldn’t worry about HFA for now. Pitching songs to successful recording artists is a hard slog. You need to get to them through a contact and that means a lot of footwork. You could try a song pitcher (lots of them in Nashville. We use to live there). They charge a fee and I have not found them to be helpful, they just take your money. There is no magic bullet. Just a lot of work on your part!
has anyone received any royalties from the above mentioned channels in the meantime?
Yes
I have to put in a plug for my brother’s site https://composerspace.com/. Starts at $10 per month.
I’m posting this for Mark Petrie as he was having a problem replying to this thread.
There’s no need for realism with trailer music as Danny said. What’s most important is emotional impact, production value authentic to the expected sound of trailers, hooks, and a development / arc that threads a needle from the opening act to the finale.
I know what you mean though – we’re often told with most other gigs that we should try to create mock ups that closely resemble what a real ensemble would sound like. With trailer music, I’ve been told directly numerous times to break all those rules – as long as it adds power (often adding more ingredients makes things less powerful) throw it in. For example, I used to think it was a no-no to have strings playing long notes at the same time as arpeggio parts. These days I just try to make sure there’s enough room, that every part is compelling on its own (in case editors play with the stems and make something much louder than I intended), and that each part is adding something of value / power.including limitation of personal liability.
I would not rely on that. From my understanding it’s fairly easy to pierce that shield.
I am not a lawyer nor do I play one on TV!