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My big problem is titling I hate that.
I hear you but I have found over the years I have gotten better at it (at least I think so). Doesn’t come naturally to me but it can be learned.
have you found in general that you can say the tracks that have taken longer to create have done better than the (most likely) simpler tracks you can crank out in a day?
It can work both ways. One of our most successful tracks took about 3 hours. Still, I prefer to labor over them. I guess I’m a gluten for punishment!
Ok so I wonder: if I go non exclusive with 5 retitlers and they all get 50% of my royalties as publishers on Ascap how is my PRO supposed to work this out?
It’s pulled from the cue sheet.
Mine (Gema) said I have to register it as alternative title on the same work and publishing rights are goner worldwide.
Interesting, not a requirement with BMI, as far as I know.
I will not work with these retitlers.
All non-exclusive libraries re-title in some way. Mostly by appending a code of some sort. As an example Jingle Punks ads JP to the end of your title. “My Song” becomes “My Song-JP”.
Is this a complex way of saying that, if I would want that writer performance royalty income, I need to register the retitled name?
No it does not. You would still get your writer’s income from the retitled work as they will register that title with you as writer and they as publisher. They would only collect the publishing income.
You would/should register any other titles (not being used by other libraries) with you as writer and publisher.
At least that’s a typical deal unless you have made one of those horrible deals where the library wants a piece of the writing income. In that case they would register as publisher and co-writer with the alternate title.
Well, speaking for myself,I’ve never made software decisions based on a recognition service. The only music recognition service I’m concerned with right now is BMI and who uses the cues.
I’m with you Pat!
I’ve been seeing many ads from Audiio (audiio.com), and it’s not listed on MLR
The are listed here and have been since January 2020: https://musiclibraryreport.com/a-to-a/audiio/.
Is there any way to recommend libraries to add, Art?
Just send me a PM or through the contact link.
Second, how to approach libraries that have contact info but don’t mention submissions?
Can’t hurt to use their contact form or e-mail them.
Art, what do you think? Maybe setup a meeting and send out an email to your membership?
Not a bad idea but seems like it could get unwieldy with too many people.
Maybe Art… I’m 71 years young.
Still a kid to me johnnyboy. But, hey, we are still doin’ it!
On track at a time is all I can handle. Must be an old man’s thing – ha, ha.
Nah, I’m with cyberk91 and I’ll venture to say I’m older than everyone here!
Mine has evolved over the years. My mornings are taken up with admin work on our catalog, MLR and various other chores. I’ve never been a fast writer and don’t like writing to deadlines so I start in the afternoon and write for about four hours.
I start 10 different cues and each day work on a different one. I find that when I come back around to each cue, in the loop of 10, I’m more inspired. With this approach I’m happier with the final result.
@BeatSqueezer. You will find that when new people come to MLR they ask the same questions that have been answered many times before. Granted some info posted back in 2009 may not reflect market conditions today. As an example the subscription model was not around back 2009. All in all much of it is applicable today. If you have a question ask away. It will generally get answered or you will get pointed to an answer. The search box works very well for research.
Thanks tagteam, something I have been wondering about.
Yes, I know one of my publishers uses a different name for ASCAP than BMI.
Yes, it’s not uncommon.