[Alan]

Does Tunesat still offer a discount for MLR members?

[Alan]

Anyone willing to share their experiences with License Quote?

[Alan]

Many composers don’t understand that they have to opt-out (shouldn’t it be opt-in?) or even understand what Rumblefish does.

In fairness to Crucial, they always were “Opt In” to Rumblefish. I guess I should have said “I didn’t opt in,” ha. I believe it is a moot point now because Crucial announced they no longer associate Rumblefish.

[Alan]

The Crucial newsletter from August 2016 stated they terminated their agreement with Rumblefish as of June 1, 2016

I have music in both also, but opted out of the Crucial Rumblefish deal.

[Alan]

Thanks for posting the REELZ numbers Art, That is kind of what I expected. I have placements in almost every one of those episodes too, ha. ASCAP is definitely hurting me with “Gangsters: America’s Most Evil” though. I have a dozen placements in that series. Most are over :30, a few are over :50 and one is 1:35. Plus they air a lot. Sigh…
Off topic sidebar
Art, have you noticed the publisher splits on those placements? The poor guys who I submitted all those tracks to only get 5%, OF REELZ!
I suspect that is why they are no longer interested in accepting any new music. I feel sorry for them because I recall them working pretty hard at the start.

[Alan]

:16 on SNL, one airing was $34.55

1:24 on Tosh 0 was 50.16 with re-runs over $500

[Alan]

One thing I’ve learned recently from a publisher is that some shows pay based on a sample survey. Has anybody heard of this, seems pretty lame to me.

BrianDWatson, the survey thing is going to make you crazy. Here is part of an ASCAP inquiry I submitted a year ago:
“I have over 75 different music placements, in over 40 different episodes, in 8 TV series on the REELZ channel. I have several hundred Tunesat detections on the REELZ channel. Most of them have cue sheets. Why haven’t I ever received any domestic royalties?…”
I now have 84 placements on REELZ going back 2 1/2 years. I have not made a penny in Domestic royalties from them. Ironically, I have made a little in international royalties.
I had a long, informative talk with an ASCAP rep about it. He said that because channels like REELZ have such a low market share, the royalties would be very small even if every airing paid.
Based on the pitifully low back end I have seen from channels like TruTV I kind of get it now, but it’s still aggravating. For me, REELZ is the same as Scripps networks.

The ASCAP site list a schedule of all Survey dates if you want to reconcile it with your Tunesat detections. It probably wouldn’t be worth the time.

[Alan]

Thanks Music1234, I didn’t know it was an old thread.
So, if I understand correctly:
-AdRev fingerprints my track and owns 20% of YT advertising revenue in perpetuity
-They manually verify every YT use is licensed (how do they do that?), No automatic takedowns.
-No one else can lay claim to my track, forever. So this can not happen again

YouTube Copyright Headache

-In theory, no more false copyright infringement claims for people who bought my track from RF sites.
-I know where all my tracks are on YT (similar to Tunesat for broadcast?)
-And maybe I make a few dollars

Are there many libraries who forbid it? If so, why? I have always said No to any form of YT monetization, so I really don’t remember who forbids it.
Art, is it easy to add a “Forbids Composer AdRev Participation” block in the library information block?

Assuming I have 100% control of a Non-Ex track, what is a worst case scenario reason for not joining AdRev?

I am very intrigued by this. I have one track that should quickly show me how this works, but it is one of my top sellers. I don’t want to shoot myself in the foot either. 😉

[Alan]

I came across this while doing some AdRev research: I haven’t gotten through all of it yet, but it a an interesting read showing two very different takes of AdRev.
https://audiojungle.net/forums/thread/video-producer-who-will-not-be-buying-your-music-ever-again/152183

[Alan]

Are Music Sups at a point now where they can demand exclusives and don’t want to recycle them for another episode or show?

I made a very similar comment in a particular library’s thread Daniel. I had a bad experience with exclusive tracks that were never placed a few years ago. I think it’s the same one Art is referring to. I stayed away for a while, but I started writing to some exclusive briefs again last summer after a dip in my PRO income. I have gotten placements for most of those tracks. I should know in the next 6 months if those shows will re-use those tracks or push them aside for new ones.

I was wondering if your Exclusive libraries use your track more than once.

I am seeing those tracks used on other shows. Most of the shows are low paying cable shows, so I will need a lot of placements.

I am a little frustrated because the industry is changing in such a way that they think they are doing us a favor to play 10 seconds of an exclusive then request more.

I agree. I recently saw a library request exclusive tracks for a Netflix series. Based on the follow up emails, they got enough music. Wait until those poor composers see their royalties. 🙁

My “rule” for writing to exclusive briefs is to only create simple, fast to produce tracks. No microphones, no elaborate arrangements, just clean, easy to edit tracks.

[Alan]

Thanks for the input guys. It ended up being a fairly simple process, actually easier and faster than if I had the audio CD. I’ll post the process in case someone else ever needs it.
-Copy all the .GIG files into a single folder on your audio drive
-Open Kontakt, select Files
-In the top browser, navigate to the folder of .GIG files you created. The bottom window will populate with the .GIG files in that folder
-In the bottom window, select the files you want to convert to .WAV (I selected them all)
-Select Import and a Batch Import dialog box opens. Choose or create a destination folder for the converted files and select Convert.

For me, Kontakt created a folder of labeled wav files that matched up with the DVD documentation. It was a very fast and simple.

[Alan]

I don’t know for certain, but I THINK if you explain it to the library and only sign them exclusive rights to the new master recording it would work. They may want to forbid you from issuing future mechanical licenses for the tune. In other words, no one can record a performance of your tune even if they bought the sheet music.
Again, I don’t know. I’m only speculating based on a publishing course I took many years ago.
I have a feeling MichaelL is going to beat me up for this post, ha.

[Alan]

It it’s just one track right click on the file and go to properties. I think you can clear it there.

[Alan]

I’m not certain it this would count as a recent success, but it’s something newbies may find encouraging.
A few months ago I had a family crisis (still ongoing) that put an abrupt and total stop to my writing.
I was a primary care giver for two months, but was able to continue working my part time gig as a live sound mixer.
My 250-ish track library continued to go to work for me every day. My RF sales had a bit of an increase, a decent PRO payout arrived and I learned of a soon to be released movie placement.
After seven years trying to justify this venture, it was priceless knowing I was able to take two months off and have absolutely no loss of income.

This pause has also given me a chance to regroup and consider how I want to move forward in this new exclusive vs non-exclusive and falling PRO income world.

[Alan]

I may finally upgrade to a paying account.
Tunesat picked up a 1:30 placement on MTV about a year ago that airs a lot. After a long wait for the cue sheet I inquired with ASCAP who told me a cue sheet was filed but my music was not on it. I contacted the library and they are correcting the cue sheet. The show is available online so I was able to send a link to prove my case. IF, everything works I should get pretty decent PRO payment adjustment.
If that happens, then I will definitely start paying for an account. I know I would never have known about that placement without Tunesat. This one placement discovery could potentially cover the subscription cost for a year or more..

The only downside is hearing all those non-paying promos, Argh! They especially kill me when they air at the beginning of the month and wipe out my 50 free detections in a few days. HAHA

[Author]

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