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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)?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.
Has anyone seen the October report yet?
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.
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.
I’m not really clear on YouTube copyright blocks, but I thought I read in The Identifyy agreement that they made it “easy” to get those cleared for legitimate licensers.
Regardless, I have no plans to edit all my RF tracks unless I get complaints.
Sorry, Art. I wasn’t clear. When I submitted tracks to RF sights in the past, I always marked NO to “YouTube Content ID Registered.” This was true at the time. I have recently registered everything with Indentifyy. Should I go back and change those to yes?
I noticed some of the videos on my Identifyy report were blocked & I wondered if it was because I registered them with Identityy.
Identifyy was my 1st time with Adrev. I realized this week that I have marked all my RF tracks as non-Adrev for the past 10+ years.
Have any of you:
1. Gone back and edited all of your RF tracks to reflect they are noe Adrev?
Or
2. Seen any negative consequences for not doing that?“ I’ve saw a long string of cue sheets from one show going down half the page in my BMI account. Couldn’t wait to get my statement.I ended up with about a buck fiddy.”
I was neck deep in a frustrating mix when this popped up. Thanks for the much needed laugh ?
I will 2nd Art. I uploaded a few of my top RF tracks to test it 4 months ago. After seeing what I was missing out on I added most of my catalog.
My best example: one track was used in a dance lesson video with 103K views September. It netted me $293 for that month. The video is 3 years old and has 2.9 million views. I try not to think of the money I didn’t collectI’ve had some payouts similar to Mark’s from Telemundo. Some $15 to $20 line items and good international royalty payouts.
I had one track used in 42 episodes of “Un Nuevo Dia” (I think it’s a soap opera?). They ranged from 20 seconds to as long as 7+ minutes. The total back end for those placements was $828
I’m with ASCAP
Wow, thanks for sharing that, Art.
I signed in with Identifyy in July after a decade of avoiding CID “because of all the headaches it creates for micro-pennies.”
I just saw my first month’s report. A YouTube channel used a track of mine in 768 videos with 189K views. Plus a few hundred other videos with smaller view counts.
I had no clue. I wonder how much money I’ve left on the table?