[Alan]

Good point Desire Inspires, maybe I will make a donation by buying it when it becomes available, depending on the price. Will I manually enter all of my library into a database that I will not use? Heck no

[Alan]

It looks great Keith, I’ve been wanting one of these for years. I would buy it today if it had:
-Submission records (so I don’t accidentally re-submit a track)
-Financial/Sales data tracking, i.e. who licensed it, how many times, how much income did it generate
-Placement data, i.e. Series, episode, original air date, PRO income
-Tunesat detection import

Consider an “Add New License” page with dropdown boxes to select:
Track Title (including all alts)
Publisher
License fee
Broadcast y/n
Optional Broadcast info:
Film, Promo, Youtube video, Network, series, episode, duration, orig air date, PRO income (that I can add to with future PRO payouts)
Tunesat detection y/n (might be nice report what Tunesat misses)
Link to youtube/vimeo etc

I’m no computer database ninja, but I created my own spreadsheet with plenty of hyperlinks and simple formulas. It is so cumbersome I doubt anyone else could navigate it, but it gives me all the info yours does plus a lot more. I would love to dump it for a real database like yours
I will be watching your website
Gook luck and keep up the good work!

p.s.
Sorry if some of these features are already there and I missed them, I’m having a hard time connecting to your site to check before I suggest.

[Alan]

”

when you try to talk to people about what your doing. People just kind of look at you like, licensing, exclusive/non-exclusive, re-titling, PRO’s, what in the world is this guy talking about.

HaHa, ain’t that the truth
I’ve been at this for 5 years now an my wife still doesn’t know what I’m talking about most of the time.
Merry Christmas and a prosperous New Year to us all

… and Grumpy Uncle, get to work selling my tracks.
🙂

[Alan]

I would like to learn of any of your experiences with a cowriter also. I just started working on a batch of new tracks with a cowriter and we plan on a 50/50 split for everything regardless of who did what on each track. We also plan on going with an exclusive library so we can keep it simple. I’m still undecided on which library. Thoughts?

[Alan]

Would one of you mind explaining the free membership to me. I know it’s a 50 track limit, but what about detections?
-I joined 9/1/2014
-I hit 50 detections I could see in about 2 weeks
-Then I got a counter telling me how many more detections it has (that I cannot see without paying)
-Is that it, am I done?

I thought is was 50 detections per month and was expecting a reset.

I can’t complain because it’s free, but one month doesn’t seem to be enough time to evaluate the service IMO

Any insight would be appreciated

[Alan]

I finally got around to signing up for the free membership a few weeks ago. I have only added 35 tracks so far (choosing carefully) and hit my 50 detections in two weeks. It is really cool, and really good for the motivation/ego/”maybe I will not give up this week” side of this endeavor.
Question for the Tunesat subscribers:

Can any of you definitively say that your Tunesat subscription has created positive cashflow? Has Tunesat gotten you enough actual income that you would have not received without the service to justify the expense?

I really want to subscribe to the 250 track plan. Unfortunately, 99% of my placements are in cable reality shows. I can’t imagine $140 worth of MISSED placements per month. That is a lot of music.

I created a spreadsheet of all my known placements I guess I’ll have to wait a year or two to find out how many detections don’t make it to my PRO.

Incidentally, I’m quite certain I would not even be aware of Tunesat without MLR, thanks again Art

[Alan]

Advice, I had placements on a few episodes of Hollywood Hillbillies, but not the other one you mentioned though.

[Alan]

@Advice,
Yes, I am starting to see cue sheets from REELZ. Pretty quick too, I have several from April 2014, many less that 2 months to file cue sheet. Too early for payouts, I’m not expecting much though.

[Alan]

@ P-9
Does ASCAP really pay nothing, as in zero for placements on the Reelz channel?

[Alan]

FYI, I’ve had placements on shows where one composer is listed and no libraries are credited.

[Alan]

I use Sony 7506 and Grado SR80 (open backed) for checking my mixes.

As most of us know, the Sonys are very “bright and crisp.” I use those to make sure my high end to not too heavy. I feel if it sounds a little too bright on Sony headphones, I need to tame the high end.
The Grado headphones are very nice to listen to, and are a great reference in my opinion. Unfortunately, they are very uncomfortable. I can’t wear them for more than 10 minutes or so.

I also use a set of Beyerdynamic DT 770 PRO headphones at my life FOH gig. I love those. I have to send my live house mix out for a broadcast mix so I am constantly checking my mix in the headphones. The are very comfortable and very accurate.

[Alan]

Ha,
My main source of income is as a live sound engineer. I’ve been trying to supplement that income as a composer. Freakin’ genius!
🙂

[Alan]

Me too, I contacted them and here was the reply:
“ASCAP had a data transfer over the weekend, which included the transfer of cue sheet data. This process has not been completed as of yet, but should be by week’s end. Have no fear. Your cue sheets have not been lost.”

[Alan]

I’ve been at this for a couple of years now and am shocked at the number of errors I see on my tiny PRO statements. This seems like a good string to mention it. I took note of it when I had hit the 50 placement milestone a year or so ago. Of those first 50 placements, there were 9 incorrectly credited publishers and one cue was not in the show I was credited for (I listened for it, it was not there). That’s nearly a 20% failure rate (that I know of)!

Since Tunesat is not an option for me yet, I can only sigh and hope I’m not losing too much $$ from all these errors.

[Alan]

@ Denbo17
There is a big improvement over X1, mostly in workflow, but also in FX. I do a goo bit of my processing with just the prochannel now.

For all:
I was pleasantly surprised to find the X3 install did not overwrite X2. It did a completely separate install and my X2 still opens and runs just fine.

[Author]

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