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They are listed here https://musiclibraryreport.com/t-to-z/vimusica/.
Closed topic, has veered off topic.
5 Alarm comments are best left here. https://musiclibraryreport.com/1-to/5-alarm-music/
West One here. https://musiclibraryreport.com/t-to-z/west-one-music-group/
Having said that I would also warn people from engaging with the BMI Los Angeles/W. Hollywood offices if you want the awesome member services I would contact the Nashville or New York offices if you are in the States
I agree, much better service from the Nashville office than L.A.
My solution was simple – all of my tracks are going into youtube’s content ID under my own account so I am the first collector of CID ad revenue royalties and everyone will have to answer back to me for “conflicts” “whitelisting” , “takes downs”, etc.
Yep, that’s exactly what I did. I uploaded all of my tracks to ADREV.
If you can get a copy of the claim you might see what rights manager placed it in Content ID. I had a couple where it showed that Haawk/Identifyy was the rights manager. I contacted them and they gave me the name of the library and white listed it. I also contacted the library and they removed from Haawk.
I have had this happen in the past. In those cases they were submitted to Content ID via AdRev. I contacted Adrev directly and they removed them. I would contact SourceAudio directly and you might get a faster response.
does my customer need to do some paperwork?
I am not sure if the customer is supposed to do something (like cue sheets on tv, or adding credits when uploading videos on platforms?)It depends on the terms you set with your customer. What would you like him/her to do?
Your PRO would handle collecting any back end monies due you.
Pseudonyms aren’t usually a problem but can’t speak for every country.
I get logged out every time I click a link and I’m referred to as a guest even though I have Lifetime membership.
Sorry to hear that you are having problems. Please try clearing you browser’s cache and history for musiclibraryreport.com or try another browser. You could also try using a “Private” window or “Incognito mode” in your browser. See this link if you are not sure on how to do that https://www.howtogeek.com/269265/how-to-enable-private-browsing-on-any-web-browser/. If you still have problems Contact me.
But their deal is I get 40% of the license fee for non-exclusive contract or 60% for an exclusive contract. My experience in the past is 50/50, writers and publishers.
Not unusual, all kinds of deals out there. Some as low as 35/65. You just have to decide what’s the best for you.
Tought in this case some extra work would have been necessary.
I guess it would depend if your PRO is paying on video streams that the video might be playing. I know I’ve been getting backend from YouTube but very minuscule.
What is the difference between main mix and full mix?
Same thing.
When you say “no fade examples”, do you mean that you never use fading within your composition?
I only meant a fade ending.
What sort of conventions do you usually follow when you compose,
These are some generalities. No intros, only an A section that builds. Sometimes an A and B section. Best thing is go to some top libraries and listen.
I’d like to know in particular, how you usually get your sync fees?
From the library.
the right way (if there’s any) to proceed to make sure getting my writer’s rights.
Copyright the music and register with your PRO.
When you compose, do you already think about the edits, and so you adapt your ideas as you compose so that you can have suitable edits? Or do you compose freely and then somehow rework on the arrangement to make the edits?
I always cut my alternate mixes from the main mix. There are some conventions I follow in the original composition though. No fade examples would be one example but I can usually find acceptable edits. On the other hand many times experienced music editors will cut their own from the full mix.