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  • Alan

    Here is a direct quote regarding stems from a film industry professional:

    Beware of the distinction between stems in this context—premixes made at the dub by the dubbing mixer—and music stems. You can think of music stems as premixes made by the score mixer rather than on the dubbing stage. Sometimes the word “stems” overlaps and there is momentary confusion about the meaning.

    All the more reason to ask the library what they want.


    So in that case when submitting say an acoustic pop track to a library requesting cutdowns and stems, good practice might be to submit:

    I interpret “cutdowns and stems” as cutdowns (:30, :15, Sting) and alternate mixes (No Lead, Bed, Drums and Bass). If it were me, I would simply ask the library to tell me exactly what they want.
    “Dear A&R,
    The definition of a stem in open to interpretation across this industry. Would you like a pre-master mix plus stems that combine to equal it, or would you prefer mastered stems treated as alternate mixes?”

    PAMMusic, I think there is a very good chance the A&R will not know the answer to that question without asking around the office or they may even need to call a few clients to find the answer.

    in reply to: Royalties expectations on MLB Network #38103

    I would expect $0.00 from MLBTV.


    I’m currently taking the Berklee Online course “Audio/Music Production for Visual Media” and stems was a recent topic. Here is the take from a top industry film score mixer (not final dubbing mixer). All stems MUST combine at fader unity to be equal to the final mix. The point being the dubbing mixer has the option to quickly and easily edit parts of the mix that may be competing with dialog, rather than heavy handedly turning down the entire mix. Every stem must also be autonomous, with no effects bleed etc.
    This of course means there can be no two bus processing on the final mix, it is pre master.
    Based on this “new information,” I consider stems and alt mixes as separate beasts. Moving forward I will continue to master my alternate mixes the same as the main track. If stems are requested, Stem01 will be the full, unmastered mix and the rest of the stems will sum at unity to exactly match Stem01.

    in reply to: Tunesat Numerator Discrepancies #37014

    Much harder now. I think there is a contact link.
    They track commercials. They are only useful if you know you have a commercial running and want to find the ad code to submit to your PRO.

    Agreed. Joining Competitrack was simple in 2016. My experience is in line with Art. Tunesat picked up a commercial, I put a claim in with my PRO, they said I needed to give them an Ad Code, I created a then Competitrack account in order to get the ad code. I’ve had a few more since then. They are a necessary service IMO. I suspect (with no evidence) that we composers looking for Ad Codes are an unwanted nuisance to their Marketing based service. If they no longer give out memberships, maybe you could open an “advertising firm.”

    in reply to: Tunesat #35674

    A “track” on Tunesat has a size limit of 200 MB. I’ll let you figure out the rest

    in reply to: NBA Channel #35442

    Hey guys, any updates if you ever got paid and if so can you share some numbers?

    Here are some solid NBA Channel numbers for you White_Stripes:
    Time frame – Fall 2017 to Fall 2018
    # of placements – 92, durations from 0:12 to 4:55
    # of airings – Tunesat picked up about 450 airings
    # of cue sheets filed with ASCAP- 58
    Total income – $0

    Did I contact ASCAP? Yes
    Their reply? Sorry, it didn’t hit the survey, too small of a market. I’ve cone through the survey dates a few times and have never seen the NBA channel listed.
    ASCAP Surveys can be found here:

    It’s particularly annoying when you learn a 2+ minute placement missed a survey by a matter of hours.

    Sorry for the bad news White_Stripes

    in reply to: Help please. Youtube content ID issue #35430

    Hey Pat,

    This happened to me a few years ago. Try this:
    Make a document like this

    Music composed by PAT
    Copyright 20XX
    This music should never cause a YouTube copyright infringement claim.

    It was Non-Exclusively licensed by BAD GUY Productions, LLC from MUSIC LIBRARY X for use in the show BAD GUYS VIDEO.

    No person or entity other than myself own any rights to this music and therefore may not claim copyright infringement.

    Make it into a jpg file and make a video with your track playing in the background. Upload it to YouTube. When it gets flagged, dispute it and provide them the proof that you are the sole rights holder. They should then remove anyone else’s right claim. That’s how I did it a few years back. There were a lot of dead ends before I got it done. There’s a thread about is somewhere on MLR.

    in reply to: ASCAP Cue Sheets Screwed-up… #35381

    I had a couple new ones this week. The series non-series filter hasn’t worked for a while either

    in reply to: ASCAP Domestic Royalties… #35360

    I got lucky this time. Had my best July domestic ever. But I had a General Mills commercial that ran from August to December hundreds of times plus 4:30 network placement for a Downton Abbey special. Without those, it would have been pretty dismal.

Viewing 10 posts - 1 through 10 (of 254 total)