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Sidney is an old friend of mine and I suggested he post here. I know there are a lot of Mac folks on MLR so hopefully someone can help him out.
Please direct your questions here https://musiclibraryreport.com/m-to-m/monstercat/.
Anybody know, does Tunesat track YouTube, or postings on library sites? Or both?
Yes on YouTube and Facebook. It does pick up Audio Jungle. I don’t see it picking up any others though.
How do you get into Numerator’s tracking?
Much harder now. I think there is a contact link.
They track commercials. They are only useful if you know you have a commercial running and want to find the ad code to submit to your PRO.
Do libraries have the ability to detect if your exclusive is listed in another library under a different title?
They could detect use with an account like Tunesat but that wouldn’t detect a title. The only other way I can think of is to maybe search a PRO database for alt titles. Not sure that would even work.
Is it common for an “owner of rights agreement” contract length to be perpetual? Is there ever a clause for both parties to leave if they are not happy?
Not necessarily. There are libraries that have reversion clauses.
If you are referring to Big Fish Audio you can find a thread here https://musiclibraryreport.com/forums/topic/big-fish-audio/. Big Fish has the strictest requirements, though sometimes you can get special licenses from them. If not Big Fish then I would contact the company for clarity.
Travel channel is Scripps. Do they really still not pay backend royalties?
Scripps generally doe not pay royalties. I say generally because I have one show on the Cooking Channel that has been paying.
And to all of you too Barbie!
Do you know if FYI network pays back-end royalties?
Yes. My payment runs anywhere from .005 to .03 cents per second.
Also, if you have a lot of alternate titles and you are with BMI you can upload with a spreadsheet.
Do most people think it’s OK to just change their names?
As ORPM said. Submit to your PRO as alternate title to original title.
“Upon cessation of the activity (i.e. liquidation / closure of the business) of the xxxxx
Music Library, all rights of the xxxx (Music Library) entrusted by the composer remain with XXXXX (individual owner of the ;library) This also and in particular applies to the distribution of royalties through
the Authors’ Association or another relevant collective rights management
organisation. ”I believe what the contract is trying to say is to protect the rights and royalties of any placements the library made while a composer’s music is under contract to them. That would be fairly standard. Check with the library, or a lawyer (preferably), for clarification.