[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.

[Alan]

Is there any schedule or pattern of when Identifyy releases their monthly reports? If I recall correctly, January and February 2023 came out within a few days of each other, but I still don’t see March.

I had some ownership conflicts early on and wonder if that caused delays in reporting.

[Alan]

I once have a 1:30 placement on an MTV show where the original cue sheet said 0:09. I reached out to the library and they had it fixed, sort of. The amended cue sheet said 1:09. I left it alone after that. It made hundreds, maybe a 4 figure difference in back end over several years. BTW, that was all Tunesat.

[Alan]

Great info, echoflex. Thanks for sharing. Do you choose the music, or is that someone else’s job? I would love to hear from someone who auditions potential music for a spot.

[Alan]

Here’s some info worth sharing:
Identifyy informed me some of my tracks had conflicts with AdRev, but they didn’t know who registered them. I have been very careful to never agree to CID with any non-exclusive tracks.

After some sleuth work, it turned out someone at a non exclusive Library (SK) registered my tracks with AdRev even though I specifically declined it via email (and they confirmed via email reply) several years ago.

Fortunately, the library promptly and courteously took care of it. & apologized. Identifyy confirmed I no longer have any conflicts.

BTW – the April 2023 Identifyy payout for the first full quarter with my entire catalog registered is in the low/mid 4 figures range. 95% of that is from two tracks I had considered poor performers. 50% is from one video. If you haven’t signed on with them, maybe you should reconsider.

I hope this lasts, but I’ve become quite the pessimist.

[Alan]

I’m a -14.
I was surprised to see -9’s here. I’m not saying that’s wrong, but I would like to hear some justification for that. If our target ears are A&R directors and post production folks, why slam it like that (unless the genre calls for it)?

[Alan]

I’ve had that a few times. Having my tracks land in Seinfeld episodes was the confirmation it was a promo for me. I have put in MANY claims for promos and have never gotten any back end. Oh well.

[Alan]

Has anyone seen the October report yet?

[Alan]

jdstamper,

I don’t recall seeing the limit written down anywhere on the Tunesat site. I just began to notice a trend of detections stopping toward the end of the month then restarting on the first of the next month. As my number of placements grew I realized they were capped off at 50 per month. That’s when I began paying.

I would guess their accuracy is about 70%. It becomes very obvious if you know you have 2 or 3 tracks in a single episode of a show and they normally miss some.

[Alan]

One thing about Tunesat that I haven’t seen mentioned here is the free account not only limits you to 50 tracks, it also limits you to 50 detections per month. At least it did when I had a free account. A commercial could easily max out your free account in a week. That is one of the reason’s I started to pay for a subscription.

Is it worth the $600 per year? I haven’t crunched the numbers in detail, but Tunesat found several film & advertising placements from RF sites that I would not have been aware of. These did not have cue sheets so I had to chase the money by filing claims and contacting production companies. Those licenses have brought in low-mid four figures that I likely would have missed out on if it wasn’t for Tunesat.

[Author]

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