[Alan]

bump

[Alan]

Daniel,
I opted out with Crucial. They made a mistake and put one of my tracks in it so I saw a royalty statement. It was for $0.001
That is not a typo.
I suggest you opt out.

[Alan]

MichaelL, It was a sound alike but not close enough to trigger a copyright of the original. Here is and example of what triggered the copyright claim.

As you can see, there is no video, just audio stripped from the show and copyrighted. My track was in the background of one of these. Incidentally, there was another AS sound alike from a different composer on that same video. I reached out to him via soundcloud to see if he was having the same issue. He has not replied.

The current copyright disputes were resolved, I still don’t know for sure if new uploads will trigger more take downs. If anyone wants to help me out on this please PM me. I can send you a short mp3 of the track to upload to YouTube. I would like to know if it gets through.

Mark Petrie
The whole process was pretty long with several dead ends. I’ll post the full story if you or anyone else thinks it would be useful.

[Alan]

It was AS MichaelL. They claimed they were working on it and “escalating” it. Once I decided to do it myself it seemed to be resolved within a day or two. Maybe it was they who resolved it, but I think it was my efforts.

[Alan]

I think it’s a MSG promo Art, (it’s for a new sports talk show on MSG) but it is also airing on the NHL Network and NBC Sports (Versus). I was hoping that would make it an advertisement.
I just signed up for competitrack and couldn’t find it via their search engine. I emailed them for help.
Thanks for chiming in Art. I still have so much to learn.

[Alan]

Tunesat has detected my first significant TV promo that I am aware of. I have over 1000 detections on MSG (Madison Square Garden), NHL and NBC Sports in the past month. I’ve read through this thread but I’m still not certain what to do first. Do I create a Competitrack account and request data from them 1st?
Another dilemma is this is one of my best selling tracks and I have no idea who produced the spot or who licensed them the music. I’ve been searching the web, but no luck yet. It could have been an RF site or it could have come from a blanket license, or I may have a sync fee coming my way.

Any advice would be appreciated.

[Alan]

That’s correct, The “My Royalties”only shows money you have already received. Also note the cue sheet deadlines. If the cue sheet was filed late, you will get paid late. I’m not 100% certain on this, but if the cue sheet is for a small survey only channel, you may get nothing. I have hundreds of tunesat detections on the REELZ channel since 2014, all with cue sheets, that have not paid any royalties except for very small international. I am still waiting for a member services reply about this. But congrats on your placement! I’ll never forget my 1st one.
I wish you continued success.

[Alan]

I would not contact the libraries. It could be a sale from a RF sight like P5, if you list your publishing info with them. I had a cue sheet filed from an RF site (ProductionTrax) but they split the publishing so it was obvious.

I also have about a dozen TV cue sheets assigned to my publishing. They are all non-excl tracks. I know I didn’t place them, but I don’t know who did either. I accept the extra money because there are likely many cue sheet errors that are not in my favor too.

[Alan]

I do it in my mastering stage. Have a template with tracks for full mix, no lead, bed, DnB, 30sec, bumper, stinger, loop A, loop B

Sometimes the 30 sec can be difficult. I will often use pieces of DnB and/or No Lead etc to put together those edits.
I’ve gotten pretty efficient with it.
Occasionally I will need to go back and make a “slice and dice” mix that has cymbals and other long tail instruments muted

[Alan]

My income is split about evenly between RF and PRO. After 6 years the RF income is leveling off while thePRO income steadily increases. I expect my PRO income to level off this year since JP has gone exclusive and they account for at least 75% of my PRO income.

[Alan]

bump

[Alan]

These sound nice Danny. They are very weather channel-ish, or cooking or travel show. Most of those don’t pay though. Here are the requirements for a library I recently started with that may help your arrangements.
“-Start out Sparse
-Build up by increasing layers of instrumentation to the main hook and or chorus part
-Break Down (in this part you should include some well placed hits or musical accent points)
-Build up again to the main hook or chorus part
-Sting Out (every track must have a sting ending)

If you look at your track file’s waveform, it should visually display all 5 of the above.”

[Alan]

Wow, this is great! Thanks Mark. I’m embarrassed to say that when I see these things in genre lists, I honestly have no idea what they are, even when I was writing in them, ha. Thank you thank you for sharing.

[Alan]

Thanks for “cheering me up” Chuck. 😉

[Alan]

“That, of course, is not to say that there haven’t been successes among composers referred to as “hummers,” who sing melodies and rely upon orchestrators to do the rest.”

I love this line MichaelL. I was in music school in the 1980s. I remember an arranging instructor telling us TV composers of the 1950s would commonly hand write (of course) scores with only lead lines and notes to the copyists like “4-way close” or “8 way drop 2” etc., which are voicing techniques. The sheet music copyists were expected to create all the performers parts by plugging in the standard arranging formulas.

[Author]

Posts