[Bronxbomba]

I also posted about this a few months ago and it is a baffling subject. In my opinion, set your own deadline and move on but I think waiting a month is long enough. However, I wouldn’t suggest mentioning you have other options if you need to follow up.

Once you find a few libraries or publishers that actually communicate with you in a timely manner, AND they’re placing your music, make them the priority option to represent your music.

[Bronxbomba]

I thought about this as well and in my opinion managing a huge social media presence takes away from productivity. The occasional posting doesn’t hurt but ultimately the question is do you want to be a social media figure or land placements? I tend to only post placements because I think results speak the loudest. And the placements are what lead me to more briefs and contacts.

[Bronxbomba]

So did that library even say anything at all or did you try and follow up? Or did you just wait a while and submit those tracks elsewhere? If you did wait a while, how long did you wait?

I think it wouldn’t hurt for libraries to notify their writers when and if they’re taking submissions instead of leaving us “wondering”.

[Bronxbomba]

Grancan,

Yes I’m happy they’re placing the music they previously accepted. That’s why I’m always trying to give them more music cues…lol

[Bronxbomba]

Hi Art,

Thanks for your response. I’m a fan of write, submit, forget, repeat. However, how long should one “forget”, before remembering that the library never responded to your submission. I also forgot to mention that I can actually see how many times the library listened to all 10 cues yet they still haven’t said yes or no.

So I guess what I’m trying to gauge is how long should a composer wait to hear something considering you’re already signed? Is 60 days reasonable?

[Bronxbomba]

Am I missing something? For exclusivity, where and when does Audiam market the music to potential youtube creators?

[Bronxbomba]

Hi Art,
I’m not sure if I was clear. I have Title A and register it as Title A. If I happen to take that same track and cut it down to a 30 second version, I would go back to the original Title A and add Title A-30s as an alternate title. None of the instrumentation is different, it’s just a shorter version of the same track. Even when you do an ACE search using the alternate title “Title A-30s”, it comes up.

[Bronxbomba]

Hi Scary Bodega,
I add the sub-versions as alternate title from the original instead of having the sub-version registered separately. Not sure which PRO you’re with, but it’s easy to do on ASCAP.

[Bronxbomba]

Thats great that GEMA honored Tunesat’s detections and will pay out.  ASCAP needs to catch up. I feel like I made a mistake signing up with ASCAP!

[Author]

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