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I’m still at it. Lots of changes, but there are still placements to be had.
Soniccouture glock, celeste, vibes, and marimba are fantastic.
I strongly agree with this, and as a result I don’t usually recommend companies.
I’m sympathetic. It takes significant time and effort to figure out which companies will be a good fit. It’s a big part of the job.
I have signed tracks with a lot of companies and I’ve never paid a monthly or yearly fee to any of them. Is that a thing?
One way of looking at it is that if the company is willing to invest in the track up front, then they’re probably invested in placing it. However, I think that logic works for a $1K+ buyout but not for $100. I’ve signed buyouts for some tracks (for $1K or so) and overall those tracks have done well. We want to be wary of companies that sign a zillion tracks but rarely place them, and the buyout deals may be an indication that the company expects to place your tracks; they’re literally financially invested in it. YMMV of course!
I’m not seeing any significant difference.
I did quite a bit of research, then prioritized other work, leaving the process incomplete. I intend to finish though, and I’ll definitely share my conclusions here. I do consider it a question that needs to be answered.
I don’t have (much) experience with sync for internal productions, apps, internet, and radio, so I can’t speak to those.
I make my living with TV placements and those rates are similar to what I see from the better production music companies I work with. Although that cable rate would apply to something like a source cue on a scripted show, not reality TV, where the sync fee is often little or nothing.
I’ve had a few national commercials and some paid quite a bit more than the rates here.
It’s tough to generalize about rates – they’re all over the map. And some composers and companies are literally (or almost) giving music away. IMO you could certainly set your rates somewhat lower than these rates without undercutting, if you think that’s the way to go.
I can’t find that example rate card. Maybe if you’re willing to share some of the rates you’ve come up with, people can chime in?
It’s a good and important question. Seems really difficult to figure out.
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.
