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I’ve had a Tunesat account for years. Here’s my experience:
If the wrong show title (or no show title) is displayed initially, it usually corrects in a day or two.
If Tunesat detects a promo or commercial, it will display the title of the show in which the promo/commercial airs. That’s pretty easy to figure out though. If the same track and length is detected during several different shows in the same day, it’s probably a commercial or promo.
I haven’t noticed any significant change over time in the percentage of placements that are detected. I would estimate that 15 to 25 percent of my placements are detected, and often only a portion of the placement is captured. I only track US TV placements.
It IS perplexing to me that this service detects so few placements. I know I’ve seen posts on MLR reporting that some composers have a much higher detection percentage than me. I can’t figure that out.
I still choose to pay for the service though. When deciding what music to produce, it’s very useful to know what is being placed ASAP, and I’m not aware of an alternative to Tunesat. Customer service is good and the interface is easy to use.January 22, 2017 at 4:11 pm in reply to: 1st PRO royalty and how many tracks written prior? #26656
Roughly 1-2 years and 100-200 tracks before PRO payments started. Then another 5-6 quarters before quarterly payments passed $1K. That was roughly 4 years ago and payments have grown steadily. Of course, I’m continuing to produce music.
It’s a long term enterprise for sure.
It can be corrected. The amount you were erroneously paid will be deducted from a future statement.
50 percent means you co-wrote and split the writer’s share. 200 percent means you own the writer’s and the publisher’s share.
If you are bringing in musicians to record music you have written, you can treat it as a work for hire. You pay the musicians for the session, but they don’t participate in ownership or royalties.
I think you can find boilerplate WFH agreements online. Doesn’t hurt to speak with a music attorney of course. But the spirit of this kind of agreement is pretty straightforward.
In my experience, payments for original Netflix programs are similar to good cable placements and less than many network placements.
My BMI statements include many (2-3 pages) Netflix payments under $1 for streaming of shows that originated elsewhere, and much larger payments for streaming of very popular shows. I don’t know if that represents less royalties per view than other TV reruns.
Tunesat certainly doesn’t catch everything….but you can always use it as a guide for what tracks (and what type of tracks are getting placements, which library(ies) are they with, etc…
I think this is a great reason to use Tunesat. Tunesat detects only some of my placements, but information about what is being placed is useful.
You could save some money by tracking only US placements.
Here’s what’s puzzling to me about this correction: In some cases, the timing was wrong (always too short) on the original statement, it was corrected on the new statement, and the payment increased. That makes sense. In other cases, in the same situation, the payment decreased. This even happened a couple times for episodes where I had two placements on the same episode. Both timings increased, one payment increased, the other payment decreased. Why would this happen?
I’ll ask BMI. Thought I’d ask here also in case I missed something obvious and someone can help solve my mystery.
I attended a one-day PMA event in LA and I would do it again. Very educational.
It was emailed yesterday. It also now appears as a note when I log in to my BMI account, so you could try that.