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I would hire a music consultant that specializes in “Royalty Recovery”. There are a TON of them out there, just take your time a find a good one!
Also, there are publishing companies that you can hire to come in just for “The Admin of your commercial”.MM Music,
Just curious. On the free account, can you see who listened to your play list and track other listeners?
I’m trying to remember why I paid for the Pro account :-).
That’s one of The MAIN features that is worth the little extra. You can see all of your visits, playlists listens, etc.
On the free version it gives you very little information on this..
I was meaning Soundcloud.
For what you are getting, and just the shear ease of it.
It’s worth the couple of dollars.Also, “some” of the0 companies that I have submitted to (for some reason) really prefer Soundcloud; even to a personal website..
I’ve made a good Chunk of Change, and have been successful with using them for “Link Access to Playlists”.
Might as well give them a few dollars..Also, I think this has something to do with their adding of new services that will make you money..
Pretty-Much all of the Libraries that deal with a lot of film clients have a good sized roster of/for “Vintage & Ethnic Music”.
DeWolfe, EMI Production Music, and Cavendish come to mind.
@beatslinger – I guess it depends on what you mean by “ready”. I’ve been producing music for over 20 years, I’ve released over 300 singles with 3 artist albums under my belt, and tones of remixes for other well established artists. And..I own my publishing for about 90% of the stuff I’ve already produced/released. so yes, I feel that I’m ready to take thing to the next level.
Cool Beans.
Cheers!Has anyone here attended the NY or LA Sync Summits in previous years?
Was it worth the money, and were you able to get a lot of valuable info & contacts out of it?Hi there, if You are asking if Sync Summits are legit? ABSOLUTELY!!
Now, understanding that “The Best in The Game, and The Brightest Talents will be there”.
My question to you is.. “Are YOU Ready?”Is it worth the money will depend on several factors that are “ALL Yours”.
Hey I’m a composer for a few Libraries but I also have direct contracts with some TV Production Companies. I have a diverse catalog of music from other talented writers that I send to Music Supes, per their request, and we split shares.
Well, “technically” You can have more than 1 Publisher, but if I’m not mistaken that “usually” is only set up to administer, and/or work on the behalf of people that “already have their affiliation with SESAC”.
I would just give them a call, and explain “thoroughly” what your intentions, and plans are.
HEY BEATSLINGER, Would I need a referral/invite to SESAC if I just wanted to open up a Publishing account?
That’s a good question.
I would just reach out to them, and ask.
My question to you though:
Why would You ONLY have a Publishing Account? Are you a Library, represent a Catalog, or are a Music/Entertainment Company that does “Administration” or registering for Composers and/or Artist’?“Just My Opinion”
Primarily a “Composer” I would go to BMI
If You were a Songwriter & Artist, and a lot of your music is being sold or radio play. I would go with SESAC
It’s critical that your personal style, your production esthetic, your musical output, your type of music – underscore, trailer, commercial, etc, and your timing match up with the publisher you are considering.
BIG Truth!!
I literally “Plan” My Composing and Writing Schedule according to time of year, and “Hopefully” Release date/time in the year.Like, Right now, I am working on my Uptempo, and “Energy Tracks” for next years Sports Broadcasts.
Does anyone have any experience with SESAC? I may have a referral to become a member soon. Handed in my ASCAP resignation papers just recently after a 17 year run. Wanted to know how SESAC measures up to BMI. Thanks!
Being VERY Clear & Honest
1) Are You are Composer/Writer/Artist, or just primarily a Composer?
2) Will You being doing music that will be getting “Radio Airplay, and Branding/Commercials; or primarily TV Cues?These 2 things would be the major factors.
My comments have nothing to do with Exclusive, vs Non-Exclusive.
I am just referring to reputable, vs non-reputable, and the conversations that I have had.I still stand on the fact that accepting bad deals sets you back years, and takes you longer to get ahead.
It’s just as you say, “bottom feeder” rates
Not My words; these are words from people in “Executive Positions”.
Also, I have learned to not mention “Certain Companies” that I unfortunately got involved with.
Sure, the deals not ONLY follow you around as attachments.
1) They “usually” tie up great pieces of music, that you will (Composer Karma.lol) immediately find “Suitable Homes for as soon as You have signed them away”.
2) In My case, I had some MAJOR issues with my Publishing, and proper Administration of My “Earlier Works, and Older Catalog”.
3) This can lead to other “Reputable Libraries” not signing You because of Your seeming desperate, and in “The Words of some Libraries I have talked to” (and had to explain WHY they should still sign me) You are considered a “Bottom Feeder”.
4) The serious Emotional Damage that takes place, and is TOTALLY Counter-Productive to getting more music done; and having the “Self-Confidence” to pursue, and get signed by Bigger/Better & Top-Tier Libraries. (Trust Me THIS Matters)
Biggest thing is. It takes a LOT of energies to come back from a Bad Start, or signing into bad contracts/deals; and that time could have been used towards “Advancement” and not “Clean Up of Some Crappy Messes!!”