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hubcat,
Unfortunately, you need to read the RF sample library agreement you signed off on when you installed it (the “I Agree” box you checked). This subject came up on MLR a few years ago. It prompted me to call a few libraries on the phone to get 100% clarification. Most, but not all, let you use the loops/samples without restriction except you may not re-sell the loops as your own.
To be safe, I never let a loop run by itself in any tracks. I will always alter it or have something else playing with it to make it “original.”I had a question about sampling audio from a TV show? Does anyone know about the legality of doing that? How would someone clear an audio sample from a TV show?
How to get it cleared? I wouldn’t know where to start. Is it music, voice or SFX? How many people have a stake in it? I would never consider doing that, unless it was a very old sample in the public domain, and even then, I don’t think I would risk it.
Regarding ASCAP registration, I suggest using the quick form.
Beatslinger,
If I am not mistaken Drums (Unless taken from a actual record) contain no melody, or musicality.
I have a few drummer friends I need to share this with, hahaha
Same here, my cue sheet count doubled overnight on the dashboard page. Wouldn’t that be a nice! When I go the cue sheet page they show up correctly.
1) Commit 5 years to learn a new instrument. I mean weekly private lessons with a pro and 1-3 hours practice per day. I did it and it changed everything.
2) The next time you come up with that “special” track that you think will do well and have longevity, invest in it by hiring (Or bartering) a few session musicians.
3) Try a new genre. A year (or two?) ago a popular library asked for bachata music. I had no clue what it was but decided to explore it. I spent an hour listening to google, amazon and pandora results to figure out what makes a tune bachata then wrote two of them. The experience added some new colors to my pallet and both tracks were even accepted by that very picky library that starts with “C.” Of course they haven’t made me any money yet, ha.
Great string you started Chuck. SteveW, wow! 25 tracks at once? I would have never considered that. I’m going to try your formula after my vacation SteveW. I think I will start small with 5-10 though. I’ve been in a slump but this gets me motivated to write .
My apologies Krisemm. My post should have been worded better, I was on my first cup of coffee here on the U.S east coast 😉
I meant use google to discover successful composers, define terminology your are not familiar with etc.
I Googled “What is bumper music” and got this
https://en.wikipedia.org/wiki/Bumper_musicand “what is a musical stinger” and got
https://www.mediamusicnow.co.uk/information/glossary-of-music-production-terms/what-is-an-stinger-or-bumper.aspx
Then search for stingers and bumpers on a few RF sites to see what pops up first. A track is worth a 1000 words.
It will probably be much faster than asking and waiting for repliesThis site is a treasure trove in info. You would be crazy to let a few negative comments from us turn you away. You also need to prepare yourself for rejections and no responses to your submissions too. Those can be very discouraging and tough to get used to. You just can’t give up.
I will work on my manners.
CheersKrisemm,
To echo Art, every question you have asked has been answered on this site dozens of times. Everyone here knows that. You really need to do your homework.
Here are some hints to get you started:
-This business is painfully slow. Expect to wait weeks or even several months for a track to be reviewed no matter where you send it. If you don’t have the patience for that, quit now.
-Google is your friend, use it to ask your questions first.
-Search through MANY libraries and see what they call bumpers, stings, alts etc.
-Study what successful composers (like Art) do and copy. Find Art’s music at multiple libraries and study what he does. Then do the same with other writers.
Indecently, everything I just wrote has been written before on this site…Welcome Krisemm,
I was where you are 7 years ago. I suggest you get in a comfortable chair and start reading ALL the threads here on MLR from the bottom up. I suspect every question you have plus many you haven’t thought of yet have been answered by numerous successful composers. The information contained in the Members Only section is well worth the admission price.
That’s my best advice.
Good luck!I make loops for nearly all my RF tracks, usually a loop for each alt mix as well. I sell enough loops that I will continue. I never have a gap, the point is to sound like seamless music.
My method for creating loops:
– In the mastering phase, I find or create a section of the track that would make a nice loop without driving you nuts, typically Intro-A-B from 25-60 seconds long.
– I use a snap to transient function (Tab key in Sonar) and slice to create the start and end points. Then I add an inaudible fade-in/out to the clip to prevent any click.
– I always test the final loops in Audacity loop play mode (Shift+Play) to ensure there is no hiccup at the loop point.Some new, incomplete cue sheets showed up today from shows dating back to 2012 that have since been canceled. I wonder if I’ll get paid for those? Wait and see I suppose.
Finally! They also added sort options in the works catalog and the default list seems to be my date registered, newest to oldest. Someone was thinking.?
I also noticed incomplete cue sheets visible. I had many new ones visible where composers and publishers weren’t filled in yet. Probably a bad idea as they will get flooded with inquiries. I’m going to be patient with those and “wait and see” like everything else in this business, ha.I never had a foreign show hit my free account. I’ve had a free account since September of 2014. I upgraded to the lowest tier, 100 track U.S. only account last month. All my “unknown” detections for the last few years showed up immediately.
I currently have two discrepancies that Tunesat found. One is a 1:50 MTV placement I never got put on the cue sheet for. It airs a LOT. The other is a 1:50 NBC Sports placement where the cue sheet listed 0:40. I have provided proof to both publishers and ASCAP and have been told they will be corrected. Still waiting. If I get what is due to me from these errors it should cover nearly a year’s worth of Tunesat.
The down side is I get to hear all the Scripps, Reelz and Promo placements I will never get paid for.Before i started with Tunesat ASCAP cue sheets were the only way I learned about placements. It was not uncommon to see cuesheets filed 18 months and longer after a show originally aired.
I normally wait at least 18 months before contacting ASCAP about a missing cue sheet.
I have over 100 Tunesat detections with no cue sheets. Many are Scripps and promos, but more are cable shows. Most of them are for non-exclusive tracks, there is no way to know who placed them. The money is next to nothing so it really is not worth the time going after them for me. I will definitely go after all exclusive tracks that don’t get cue sheets.Kallin,
Welcome to “living the dream” haha. Here is a post id did a couple of years ago that may interest you:I suggest you spend a week or two reading MLR threads in reverse before you ask general questions about the business. You will have to wade through some banter and grumpy composer posts, but you will likely find answers to all of your questions. And definitely pay for full access. This site was free when I stumbled on it. I bought a lifetime membership the day Art decided it was time he got paid for his hard work. There is a treasure trove of info on this site.
I just made $15 for a 53sec cue on a primetime Discovery show last statement.
But how many times did it air during primetime that quarter for you to make $15? For me, the dozens of re-runs per quarter are what make me the money and non-series shows don’t do that for me.
Tunesat picked up a 1:15 placement in an infomercial on Discover Fit and Health last night. Any new experiences in these types of payouts?