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@Mark_Petrie: Interesting, very believable, to a point. The “Jazz” tune hurt my brain and ears. Musically it was a mess. Here’s another way I might use AI. Have it create a piece of music, as a guide, and then recreate my version of it.
Really depends on what that non-exclusive contract says. Do you sign away the Content ID rights and other rights?
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This from Music1234.
Well this is coming in a timely manner. Everyone should take the time to draft their comments and send them to the USA Copyright office or your own country’s copyright office. I’d send comments to your Senator too.
https://www.ascap.com/news-events/articles/2024/04/generative-AI-copyright-disclosure-act
I have to admit for all of the “sort of” musical AIs out there this is the most concerning. I imagine they will eventually get sued.
There’s no inherent downside to letting ASCAP represent you for the Audio Home Recording Act (AHRA) if you’re already a member. Here’s what it means:
Benefits of ASCAP Representation:
Convenience: ASCAP handles the administrative burden of collecting royalties from the AHRA on your behalf. This can be especially helpful if you don’t want to deal with the paperwork yourself.
Expertise: ASCAP has experience navigating the legalities of the AHRA and can ensure you receive what you’re entitled to.Things to Consider:
It’s Optional: You aren’t obligated to use ASCAP for AHRA royalties. You can represent yourself or use another entity.
Fees: ASCAP may charge a fee for collecting AHRA royalties. Check their membership agreement details for any associated costs.Overall, letting ASCAP represent you simplifies the process and leverages their expertise. If fees aren’t a concern, it’s a safe option.
Here are some resources for further reading:
ASCAP Digital Audio Recording Fact Sheet: [ASCAP Digital Audio Recording Fact Sheet ON ascap.com]
It does get confusing. It would depend on your exclusive contract on what rights you have.
The MLC only collects domestic mechanical royalties from digital service providers such as Spotify, Apple Music, Amazon Music and Tidal as well as digital downloads from such as iTunes.
SoundExchange collects and distributes digital performance royalties from the use of sound recordings.
Neighboring rights refer to those royalties generated from a public performance or broadcasting of sound recordings on non-interactive digital services such as satellite and internet radio as well as on terrestrial radio outside the U.S., television, cable music channels, cinemas, public spaces, and businesses.
Thanks for your comments Mark, always invaluable!
This topic is closed. Please leave further comments here:
https://musiclibraryreport.com/e-to-g/glow-music-group/Hi Dave,
Welcome aboard, though no one can resist a leprechaun!
I listened to a few tracks and I think you are doing very well. The few things I heard are very cinematic and I can see why the likes of Pond5 and Audiosparx might not be the right place for you. Film, Trailer Music and Video Games would be a better market to go after (mind you I only listened to the first three).
You might like this article: https://musiclibraryreport.com/composer-tips/how-to-get-into-writing-music-for-film-and-video-games/
Also remember as in all things worthwhile: Patience and persistence, it’s a marathon not a sprint.
Best of luck!
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Still functioning if you have a current account. No upgrades or new accounts.
Just listed here: https://musiclibraryreport.com/t-to-z/tinderbox-music/