[Art Munson]

I have a bunch of music on Spotify, Rhapsody, etc. If a song gets 800 plays I usually get $.003. Not enough even to bother with.

[Art Munson]

@Tunesmith Bump is generally used to add a reply to a newly created topic. This will “bump” a reply to the most recent reply category.

[Art Munson]

I see so many some of my favorite music software vendors blowing out their products. They must be feeling the same pressures we all are.

[Art Munson]

@LAwriter Thanks for your input. I haven’t dealt with many PMA libraries but I have been feeling the same pain. I’ve also been releasing on Spotify and it’s a “why bother” exercise. The only thing that’s been fun for me, recently, is I’ve gone back to singing and releasing songs. At least it’s artistically satisfying.

[Art Munson]

@LAwriter nice to see you here. I agree, pretty much dead. Everything working fine here. See: https://musiclibraryreport.com/log-in-problems/

[Art Munson]

I gave up a while back on trying to reconcile Tunesat with my BMI statments. I was told that there are times when there is a last minute schedule change from what show is run and the schedule Tunesat has.

[Art Munson]

I agree. Wish I still had my old Fender Tweed!

[Art Munson]

Thanks Art. It doesn’t sound quite right for me, but I just can’t tell why.

[Art Munson]

@fsendel wouldn’t work for me but hard to tell with the mix. On the other hand I do hear beats in some current music that would not work for me but hey, I’m old school. 🙂

[Art Munson]

Bump

[Art Munson]

@adigold looks good Adi. I’ve been using ChatGPT for awhile now doing much the same thing. Nice interface you have and a bit less work than using Chat.

BTW I think AI munged your first sentence as your post ended up in the moderation queue. I straightened it out. 🙂

[Art Munson]

Here’s what ChatGPT had to say:

Well-Known Artists/Composers (Percussive/Energetic/Ad-Friendly)

These aren’t always household names, but music supervisors and library folks will often recognize them:

Two Steps From Hell – more orchestral, but often have epic percussion cues.

Audiomachine – same vibe: trailer-friendly, high-energy percussion.

Junkie XL – percussive, electronic-driven energy. Great for tech or action.

The Glitch Mob – electronic, punchy, often used in tech or car spots.

ODESZA – not strictly percussion, but known for rhythm-driven tracks with a modern edge.

Awolnation (e.g., “Sail”) – for gritty, edgy percussion-heavy moods.

Fatboy Slim – for funky, ad-friendly beats.

Moby – early Moby, especially Play, has been used in countless ads and has percussive, loop-based tracks.

Production Music Labels to Reference

Sometimes it helps to name-check the catalog or label instead of an artist:

Extreme Music – many percussion-driven tracks for media use.

Audio Network

APM Music

KPM Music

Position Music – often used in promos, sports, tech.

Bleach Music – great modern percussion, swagger-y and ad-friendly.

Brand X Music

Creative Workarounds

If they let you, you can sometimes describe the track in terms of style instead of artists:

“Similar to energetic percussion tracks used in Nike ads or tech product launches.”

“Sounds like music used in Apple commercials.”

“Percussion in the style of cinematic sports promos or car reveals.”

[Art Munson]

An article titled “CEO Keynote: AI in the Music Industry – Should You Fight It, Ignore It, or Embrace It?” by Helmuts Bems, CEO of Sonarworks, explores the impact of AI on the music industry. The keynote presents research-driven insights to ignite industry discussions on AI in music production. In 2024, reports claimed that Spotify was increasingly serving AI-generated content to its user base, raising questions about the future of AI in music. The article aims to provide a framework for understanding this impact.

In 2022, Sonarworks formed a think tank to understand AI’s impact on the music industry. They conducted over 100 interviews with industry professionals and consumers, gathering diverse opinions from CEOs, Grammy-winning engineers, artists, and casual music listeners. The main focus is on music production, but broader industry questions are also addressed. The goal is to initiate discussion and gather feedback, as the future remains uncertain.

The article highlights the cyclical and disruptive nature of the music industry, with massive revenue disruptions every 10 years. For example, the decline in CD sales took 10 years and reduced overall industry revenue from $26 billion to $8 billion. AI meets all the criteria to be the next big disruptor, with adoption rates growing rapidly. The article explores whether AI-generated music is the future or just hype, analyzing its impact on music production, distribution, and industry stakeholders.

Overall, the article emphasizes the importance of diverse opinions and discussions to prepare for the future of AI in the music industry. You can read the full article here:
https://www.sonarworks.com/blog/research/ceo-keynote-ai-in-the-music-industry-2025

[Art Munson]

Hi
I’m Rene, I’m the owner of Exploration Group, I’m happy to answer any questions you have.
We are a copyright administration company and we trust our clients to turn in the right information for the music they control. Sometimes they do make mistakes, but my team and I are always happy to answer questions and take a look at any problems that occur. Here is my email, rene.merideth@exploration.io or you can reach my team at support@exploration.io

Rene

[Art Munson]

I’ve found the best way is to call BMIs commercial division in Nashville. I had something similar happen with a US commercial that had not been reported. They were great, sorted it quickly and sent me a check for 4 figures, and that commercial turned into 5 figures.

My commercial reporting was only behind about 6 months. International takes longer and I’m not sure they will go back years. Best to call them.

[Author]

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