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I found the Tunesat phone number in a search, and got the answering service. All their socials are abandoned years ago. Their website talks about their Google+. I wonder if they are on the way out.
I notice there is no longer any telephone number on tunesat’s website. After logging in to them via Facebook for about 7 years, my Facebook login stopped working, so I tried to use my username and password, only to find out it is wrong. I think tunesat sends my reset requests to my old, no longer available, email. tunesat also does not respond to my email requests to reset my password. Has anybody had success contacting them recently?
Art, I meant to ask, what is the rationale for non-paying promos? Is it that the promo is just an ad for the show in which you theoretically will be actually getting paid for the usage?
And what about when your music is used on the promo, but does not actually appear in the episode? Is there still no payment for the use?
I started pitching to Music X-Ray about 3 years ago and had about 4 songs selected, even signing follow up contracts with the selectors. That is the last I heard of the selections- none of them were followed by any money. I dropped about $300 in their submissions and song analytics, but have not submitted anything in over a year now and don’t intend to.
The top 3 question is the first question I get asked by the people who are considering pursuing this line of work. I tell them that the top 3 for me might be different from what would be the top 3 for them.April 14, 2015 at 12:28 pm in reply to: The future of broadcast performance monitoring starts now #21417
I pay $28.50/month for Tunesat. I just applied to join sourceaudio because at $29 it’s the same price and I want to see how their detections compare with tunes. It will be a pain to upload all the tracks but I want to see how they compare.
My goal with Tunesat is for it to pay for itself, and it has done that.
I should mention that last year I had a flood of tunesat detections on one song and then heard it in an ad on TV. I filed an advertising claim with ASCAP and got about $2000 combined writer and publisher payouts 6 months later.
This was the ad:
I have had 3142 detections in a little over 3 years, and 3 yesterday.
However, I just got a 30 second synch in the finale of Better Call Saul last week on AMC and it has played 5 or 6 times and has not appeared in my Tunesat detections. Tunesat has detected this same track on other shows.
I sent the link to them and haven’t heard back.
I also found a Huggies commercial on TV using a song of mine for a two month period, according to Tunesat. I found the data on Competitrack and filed a report with ASCAP. Supposedly I will be paid in late Dec. and early Jan. for the Huggies commercial. After three years subscribing to Tunesat I was wondering if it would ever make me any money and this is the first instance.
It’s working for me- I’m approaching 3,000 detections in 3 years. But it’s not working in the way Tunesat said it would work- namely, that Tunesat would compare their detections with my ASCAP statements and file exception reports on my behalf with ASCAP. We have all learned that ASCAP pays no attention to Tunesat reports. Because of Tunesat I was able to see that one of my songs was used in a national commercial this summer and file a report with ASCAP. That’s worth something.
What would make it better would be if ASCAP paid any attention to it.
I am 100% NE. I write a niche style, and don’t want to end up with my songs collecting dust at an exclusive publisher while the publisher tells me the songs are not being placed because they are not in a current mainstream style. This approach allows me to write exactly what I want, which is what I need to do to keep this fun.
I just joined and hope to catch up with everyone and contribute where I can. I have been a writer/publisher member of ASCAP since 1994. This January I had my best payment from ASCAP, at $3900. They sent me a letter in the mail saying they had incorporated more electronic web and TV monitoring, and in some cases it has resulted in larger income streams for members. I am not a composer’s composer, but actually a live gigging/songwriting rockabilly trio guitarist/frontman. I’m based out in Denver. After reading one of Art’s posts I subscribed to Tunesat a year ago, and have seen a lot of action on there, on TV reality shows. I was wondering if ASCAP was actually catching it, and if cue sheets were being filed. There didn’t seem to be enough cue sheets on file to match the Tunesat reports. I’ll fill out one of those new “composer” interviews soon, just to introduce myself. Looking forward to learning from everyone.