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jdstamper.. are the placements lengths you’re seeing on your PRO generally short like less than 15secs? if so that might be the reason they are not showing up on tunesat. when i see them on tunesat they are 30secs or more.
i’m not sure why you’re tunesat is not detecting Discovery and a History channel. i get a huge amount of placements on both those networks use the free version of tunesat and always see them show up. it does miss alot thou as others have said and it barely picks up anything for me outside of the US.
well i didnt move to BMI from PRS. i moved from ASCAP to BMI. and the reason for that is many but mostly for the reason discussed in another thread here regarding ASCAP’s Survey system. not sure i know too many composers moving from PRS to BMI so thats a different story.
if i were you i’d move it too BMI. i know lots of UK guys who use BMI as their PRO and are very happy. BMI also have a UK based rep who’s an absolute gentleman and very very helpful. if you PM i can put you in contact.
another reason to switch to BMI. vote with your feet and make the move.
i think its nice to thank you’re publishers if they are responsible for getting you some career milestone placements. i once sent them a thank you when i saw my music had been used along side John Williams in a cue sheet during the Olympics on NBC. they were delighted to hear such a win from one of their composers. they are people at the end of the day so they should be cheering you on as your representative library.
thanks Kubed i might have to wait until BMI’s distribution in August to find out if its a decent pay out for the theme. i learnt not to get my hopes up after landing a feature placement in the NFL AFC game in 2021 which only paid about $100. crazy business 🙂
oh man i’ve already had my fair share of placements on BTN when i was with ASCAP and never received a penny. since moving to BMI thou i have received some decent payments from BTN, some lines on my statement over $200. that was all BG (background instrumental) thou so i’m curious to how well a theme will pay as i know themes are supposed to be the best paying performances in this business.
personally i feel this is more a route to go if you are following the artist path, trying to gain fans, trying to go viral on ticktock etc. it really only makes sense if your end goal is to compel people to pay money to go see your live gigs as a performing artist. otherwise if you’re looking for placements then stick to the traditional route of working through music libraries.
i reached over 4 figures after 3 years of receiving my first royalty check. but i have a ridiculously small number of tracks out there in rotation, just over 100 cues between 3 or 4 publishers. need to get way more productive in this game to make those bigger royalty amounts.
alot of composers i know have reported the same that their international payments were way up this quarter and domestic way down. personally i saw my domestic best so far and international was about a 1/4 of them.
realism is often not that important in trailer music but it does need to sound big and impactful. how you get there is up to you. whether its layering 4 super saw synths on top of your brass or whatever what matters is the end product. will your track carry the trailer.
anyone know when ASCAP are deciding to pay composers this month?
same thing happened to me. but as others said i think it was to remove duplicates. mine seems to be back to normal today.
i had my best quarter since i got my first royalty statement beginning of 2018 so very happy about that. 55% of this statement was from a large amount of international royalties that fiinallly came through from a TV commercial i landed in Poland back in 2018. incredible amount from a country still not even in the euro so very thankful for that.