[Alan]

I use DUO Mobile with it

[Alan]

I also recommend DISCO.

[Alan]

Something similar happened to me. I was surprised some of my popular RF tracks had nothing so I asked Identifyy about it. Someone else registered my tracks without my knowledge or permission. Luckily I recognized the publisher name, Sum of Music, as SK & it was resolved.

Note that I had to contact Identifyy and ask. They DID NOT tell me the tracks I uploaded were already claimed by someone else.

[Alan]

Half note was by far my favorite non-exclusive library to work with. I started with them in 2013 & their communication was great. Immediate replies to emails etc. They often asked for specific genres, I wrote them and they placed them. Those were good years. In late 2015 things began changing and in 2016 I was told “we are happy with where the library is now.”

This is PURE SPECULATION by me but, I think I recall looking at the split percentages and suspecting that Half Note did all the screening and tagging for another library in return for a small piece of publishing. And I suspect that after a few years they realized they made a bad deal and weren’t making enough money to justify the work.

I still get occasional new placements from those tracks.

[Alan]

This is part of the instructions for deliverables I got last week from a new (for me) library
“ Cutdowns:

:60 and :30 cutdowns generally should have a button end at 1-2 seconds before the end or climax at 2-3 seconds for more sustained endings. Our distributors are now requiring that all 30 second cutdowns should be exactly 30 seconds (including the reverb tail).”

[Alan]

I like this thread! I recently went back to writing for myself when I’m not working on a particular brief or genre. By this I mean writing music I like that is in my comfort zone (music from the heart if you want to get sappy).

Years ago I tried experimenting with unfamiliar genres to expand my sync opportunities. Well I just sorted my catalog by Total Income and found all those experiments at the bottom of the list, most with a big $0.00. When I listen to those tracks now, I still think they sound ok, but apparently they are not and I don’t even know why.

Conversely, when I first started in production music I only wrote what I was good at and wanted to write. Those tracks are all at the top of the Total Income list even though the production quality is not very good.

My conclusion (for now anyway) is when I write for myself, the music has an authenticity which is kind of undefinable. I think the licensor can hear that authenticity even if they don’t know it.

[Alan]

Thanks jdstamper. I’m currently copying my Cakewalk Projects folder from my old machine to an SSD drive, 7 hours to go. Here’s an update if any PC builders are interested.
I used this video to walk me through the build process:
https://www.pcmag.com/how-to/how-to-build-a-pc-the-ultimate-beginners-guide
I found it very helpful without the time wasting chatter common to many YouTube videos.
It fired up on the first try, which was a joyous occasion for me.
Installing Windows was painless
Moving 10+ years of software licenses, VSTs, etc, etc, etc, was very painful. I’m sure I’ll discover some I missed.
VSTs – I thought I would be smart and create a master VST folder where I would put everything. Nope, MANY of my plugins did not give me installation options. Even when I checked custom install, location was not an option. So, my VSTs remain a mess.

[Alan]

NRG quickly replied saying I could upload track data without label/album information if necessary. Their communication is excellent.

[Alan]

Thanks Art. My goal is to keep all my VSTs in one folder on the C: drive. I hope the iLok isn’t too much of a hassle. Although, I expect lots of headaches are in my future.

I think I remember you are a Cakewalk user. If so, have you tried to move the old third party Sonar VST instruments (Dimension Pro, Session Drummer, etc) to a new machine using Cakewalk by Bandlab? I would hate to lose those.

[Alan]

I signed with NRG. I didn’t know about the label thing until afterward. So far communication from them has been great. They want me to reach out to publishers for that info. I don’t think that info exists with JP, and would they even reply? Probably not. I’m going to try and avoid the issue if possible.

[Alan]

I signed up for neighboring rights collection and they are asking for Label/Album information. Anyone else come across this? What did you do?

[Alan]

Thanks, Art!

[Alan]

If it is for YouTube, and registered with Identifyy, and does go viral, you’ll get paid. I have a track in a viral Youtube video that earns low 4 figures monthly.

[Alan]

I’ve had a couple of new ones come in recently. There seems to be a rush around ASCAP cue sheet deadlines.

Thanks to ASCAP (something I don’t often say) I just had an ASCAP generated cue sheet from the 2017 film “The Last Movie Star” starring Burt Renyolds. It was an RF license with the P# library, so of course they didn’t tell me. I probably would never have known unless Tunesat picked it up on TV at some point. Anyhow, I’ll get writers & publisher share eventually.

RM90, I’ve never had an issue with CNS placements. I find that odd.

[Alan]

Following up on this post-
The 30 second commercial with my track that aired during the 2022 World Series during primetime on FOX paid a whopping $23.25! That was publisher’s share, so I’ll get another $23 next month on my writer’s payout.
I’m pretty disgusted with ASCAP for that one. I expected to see 3 figures. I’m going to message them now, not that it will do any good. For comparison, the same commercial on FOX during a Saturday afternoon college football game paid $17.45

On a positive note, the total backend for the commercial is over $1K, and it was P5 license. Ya never know.

[Author]

Posts