Forum Replies Created
-
Posts
-
I have a lot of tunes registered with BMI, including recently, and I don’t recall ever having to wait that long. Less than a week is typical.
All of that is working normally for me.
I use ReelCrafter for custom reels. It’s great.
Roughly 60/40 drop-down or checkboxes. Sometimes a combination. Some have drop-down for instruments and similar artists as well.
For me, the goals and benefits of a detection service are:
-I learn where my tracks are being used immediately, instead of waiting months or years to learn this from my BMI statement. The helps me determine where to pitch and sign my tracks, and what kinds of tracks to produce.
-If I don’t see royalties for a placement, I can get in touch with the production music company that represents the track and make sure the placement is accounted for. This is in the best interest of both me and the company. (I’ve had experiences like Art’s commercial, referenced earlier in this thread.)My Tunesat experience is similar to yours.
I’m already budgeting for Tunesat. What I’m trying to determine is if one of these other options is better.
Thanks.
I’m doing a deep dive in to Tunesat/Trqk/BMAT and other detection options, comparing cost, interface, regions and networks monitored, and detection percentage (which I understand will be a guesstimate). (I use Tunesat currently.) If I come to any profound conclusions, I’ll post them here.
Has anyone here used two or more of these services for a significant number of tracks (200 or more, perhaps?). If so, can you speak to detection percentages for each platform?
I’m grateful for the info this dashboard provides. I’ve always wished for something like this. My quick list of additional information I’d like to see in the dashboard is extremely long, but this is much better than nothing!
Decent and similar to last Q. Not really confident about any trends. My streaming percentage is similar to LAwriter.
Wow. It’s like something I’ve heard before, yet like nothing I’ve ever heard, but not in a good way.
Thanks for sharing this, Art. It’s fascinating. It’s a very concise, articulate, compassionate summary of the challenges facing professional musicians today.
(And I’m a fan of any bill that includes the phrase “gigabit-speed game of whack-a-mole.”)
The legislation “would allow independent music artists to band together and collectively negotiate with large streaming platforms and AI developers”. What do you imagine that would look like? Who might take the lead, and how might that be organized?
Year over year my business is doing OK, but 4Q22 was the worst quarter in a while, especially US royalties. But like Art said, the number of pages (115!) keeps increasing impressively.
Long term trend is still gradually upward as I continue to sign more tracks. Up and down in the short term. I agree that the number of factors involved makes it challenging to assess what’s going on. I also agree that 1Q statements are generally the highest, although not dramatically so.
Reelcrafter is great for this.
Yes, a pretty large increase in international royalties.