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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.
There is so much variation that it’s difficult to answer these questions generally, but…
Sometimes there are upload forms, sometimes an email contact.
Usually the contract comes after “approving” your music. If they offer you a contract, that’s the approval. You can definitely ask about contract terms before you submit, and often the basic terms will be provided with submission information. And it’s good to know this, because it’s entirely possible you’ll read the contract terms and decide you don’t want to submit to that company.
Companies may want to know that you’re capable of producing lots of music, or they may not care, but often you’ll be submitting 1-3 tracks for review. And in many (most?) cases each track you submit is subject to review. Obviously you’ll want to present music that you produce at the highest level, balanced with an awareness of what that company is looking for.
The question of “to how many non-ex contracts should I sign a single track” has no easy answer and has probably been covered here at MLR.
As far as submissions to ex and non-ex contracts, perhaps you have enough strong tracks (400!) that you can simplify the process by, at least initially, just submitting each track to one company. It can take a while to hear back, but usually it’s weeks or months, not years. (I know people have stories…but generally it’s weeks or months).
Best of luck to you.
Over a 10-year period, excluding some up front income, my production music income has been roughly 30% sync fees and 70% back end.
The back end income is actually pretty consistent along a trend line over time.
The front end varies pretty wildly year to year in a way that seems kind of random. There’s certainly no obvious trend.
I don’t have any tracks in RF libraries, so I can’t speak to that.