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To Desire Inspires the content ID YOUTUBE royalty opportunity is something to be taken very seriously as I have heard about some RF writers making more in that arena then they do with actual RF sales!
I have heard completely different. Do you have any links to articles showing a comparison between Content ID royalties and royalty-free royalties? I cannot take anything seriously without evidence.
All I hear about is low payments and people getting in trouble. A few people making a lot of money is not enough to convince me that the Content ID scheme is lucrative for the average composer.
@DI What it does is fairly simple, it monetises your music on videos on your own channel and other YT uses by placing ads on them.
It sounds much more complicated to me.
All I hear about are people getting infringement notices from having music in their videos. If I bought music from a site and got an infringement notice, I would probably never buy music from that site again.
And the amount of money that most people are making seems very low. Why monetize my music if people that buy it legally are getting infringement notices and I am making a few pennies every thousand plays? Forget that.
In a way, I say just sign the agreement if I am already participating. If I didn’t agree to the new terms, I would have to take all of my music off of YouTube and start over. But if I never was a part of it, I would not get started now.
All of this nonsense over songs? The only ones making significant money seems to be Google. Amazing how my fans get in trouble and I get pennies while Google makes extra millions on top of the billions they already make.
Oh well, adapt or die!
I say that people either sign the deal or post their music somewhere else. Google doesn’t care about music or anything else.
That company is only out to make money. Negotiations, protests, legislation, etc. will do nothing. Technology moves faster then the law does. People either have to move forward or leave Google all together.
I still do not understand the purpose of Content ID. But I don’t participate in it. I just let these things wash over me. Too much info out there.
ASCAP did the same thing last year.
One quarter they made a big deal about raising the royalty rate payout. The next quarter my royalties decreased by a third. I didn’t figure it out until I compared the royalty statements for the two quarters. Of course there was no mention as to why the royalty rate dropped.
We have to roll with the punches I guess.
Maybe the cue sheets for the repeat plays of the show have not been filed. Contact the library and see if they have any info.
Tunesat is a decent service. But I think the info can lead people to believe that they are being cheated or will not be paid. Tunesat is not perfect and misses song plays that the PROs detect.
The PROs and the music libraries are probably the best people to talk to if there is a serious concern.
I have cue sheets filed with ASCAP for these shows:
Fuse G-Thing
truTV Hardcore Pawn
truTV South Beach Tow
VH1 40 Most Shocking Hip Hop MomentsArt, I did see you listed for “DRAMEDY COMEDY-JP” on an episode of Hardcore Pawn that aired on 07-Jan-2014.
I have had cue sheets filed over a year after the show has aired. I have had other cue sheets filed a few weeks after a program has aired. It all depends on the show. It is very frustrating sometimes waiting for a cue sheet to be filed, especially when you hear your music being used on TV. Hopefully production companies or whoever files the cue sheets will start to work faster!
I’m just about to send out some music to various library companies. I recently learned that the same songs can be placed in different libraries, so long as the songs have different names.
That is incorrect.
You can submit the same music to different exclusive libraries for audition or demo purposes. But once you sign a contract with one exclusive library, you cannot place those songs anywhere else.
For non-exclusive deals, you can place the same songs in multiple libraries. But you should get clarification from each library if you are confused. Read the contracts carefully, ask questions, and possibly have a lawyer review the deal before signing.
I believe that both approaches work well.
Some companies do not want to deal directly with composers. They would rather work with a well qualified library that has some sort of filter for the music. Libraries may pass up on new sounds just because they are unfamiliar with how to market and promote the music.
But other companies like to discover new and fresh independent acts looking to bring something new to the table. Some may see library music as not risky or bold enough. That is why a good connection with a music supervisor is valuable.
A composer should keep all options open. There is money to be made from libraries and doing it yourself.
Sounds good guys. 🙂
My belief is that quality + quantity on the right sites will yield the best results. There are also other formulas and more knowledge out there to gain. I believe you will figure out how to increase sales.
Good luck and have fun.
I don’t think most people on MLR are purposely seeking to flood the market with horse poop. Most people here seem to have pride in their work. I have heard music from some of the guys here and I am impressed.
But the RF market is changing. The people at the top are getting better and the people at the bottom are flooding the market with horse poop. The top sellers continue to sell. The bottom end gets more sales simply because they have more cheap music out there. So that makes it a lot harder for people in the middle of the pack to make gains.
That is why I suggest that composers find sites that have a quality search engine and some filter for weeding out horse poop. Once those qualities are met, composers should make as much quality music as possible and submit.
No. Those are the questions that I ask myself every morning before I sit down to write.
The learning process never ends.
Even better.
The FIRST questions to ask, when you aren’t as successful as you want to be are:
1) What can I do better? and
2) What am I not getting or understanding?Yes, these questions should always be asked before submitting music.
If you send them a great exclusive track, it might end up as a NE track, so why would you send your best stuff? To me that’s a lose/lose situation.
You should always send out your best stuff.