[angopop]

Bumping this old thread…
What experience does anyone have on these sites with making them searchable so that clients can enter keywords and audition/download resulting songs?

[angopop]

Oh, I see Art.
Amazon S3 handles storage. I’ve heard that downloading and streaming can add up on S3, do you pay a lot on months where there are a lot of uploads and downloads/streaming?

[angopop]

Art, for your website how do you handle the large amount of storage to hold all the files?
From what I understand, what costs the most for a website is not the storage, but it’s streaming and downloading that can get expensive. How do you handle it and who do you use?

Thanks.

[angopop]

Thanks, Art. Did you create the website yourself or did you hire someone to create and maintain it?

and thanks Music 1234, I will check out SourceAudiio.

-A

[angopop]

Will HFA be helpful to me if I have my songs primarily with non-exclusive libraries and those libraries act as the publisher?

[angopop]

Thanks Art!

[angopop]

I have been going back and remixing some older songs as my skills and gear have improved over the years.

Would you replace the old mixes in libraries, or submit the new ones under a new name [ie; “Old Name (2019 Mix)]?

[angopop]

It seem odd that you can’t name the collection anymore. I used to name my copyright submissions “My Name Collection #1”, etc…

Now it automatically names it after your first song title then adds “…and 9 Other Unpublished Works”.

Any idea why that is and what advantage that has?

[angopop]

Thank you, MichaelL, very informative and clear.

Each song having it’s own registration number seems like a good idea.

Even though it will cost more as I can submit less songs, it seems like we get a bit more protection if each song is registered separately….

[angopop]

LAwriter: Same with me, I signed up with SoundExchange, and they have no money for me. That’s why I’m wondering about SongTrust and these other companies…

[angopop]

I’ve been hearing about places like Songtrust and SoundExchange (which I know are set up entirely differently), but my question is this:

If most of my library music money comes from two sources, AS and P5, who I receive occasional payments from directly as well as through BMI, how will Songtrust and SoundExchange find additional money? Meaning, what will these two entities track and pay on that AS, P5 and BMI aren’t doing? And what will SoundExchange find that Songtrust doesn’t and vice versa?

[angopop]

So the ISRC (and UPC) only relate to sales (physical or digital) but not streaming?

For some reason I assumed AS was giving me ISRC codes for purposes of the DSP sites….

[angopop]

<The problem with that is that if a library releases your track on a compilation album, theoretically, you can’t release it again, AFAIK. That’s why I don’t let anyone release for me.>

Art, so does this mean that you don’t have your AS songs streaming on RadioSparx or their other platforms? What do you mean by “you can’t release it again”?

[angopop]

Thanks Art.

Two related questions for you all:

I get my ISRC from AS. But the ISRC does not relate to my ‘version’ only the library version. Does this matter?

How are you guys getting UPC and ISRC codes? Are you sending all your NE tracks to places like CD Baby that include those codes as part of their service? Or are you getting accounts and codes from the ISRC organization for ISRC, and GS1 for UPC?

[angopop]

What does “DSP” refer to in this thread?

[Author]

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