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Exactly how this will shake out for the thousands upon thousands of re-titled tracks already registered, no one knows (Please don’t speculate- we’ve done enough of that).
That doesn’t make any sense.
We do not know what the future holds. We can only speculate and try to predict what may happen. There is nothing wrong with taking clues from the past and present to make sense of the future.
The worst thing that can happen is that I am 100% wrong. Being wrong is a part of life. I can deal with that. I can take my loss and move on. But at least I am thinking and trying to come up with solutions. [Removed by moderator]
🙂It is all about the money in the end. The PROs will come to their senses and use Tunesat eventually.
Maybe about 3 to 5 years from now it will happen. Tunesat just needs to keep helping libraries recover large publishing royalties that are being missed. That will lead to those music libraries influencing the PROs to use Tunesat’s services.
Life is nothing without risk. Take the risk and pay for the strings.
@Desire it seems to me the missing link in the BMI/ASCAP system is the actual audio that would be tied to the registration number.
Agreed.
These are just back-of-the-napkin thoughts but more than anything I wanted to point out that there are ways to solve this problem.
Actually, a system like that already exists. BMI and ASCAP have a unique registration number for each song title. So even if 100 tracks have the same name, they would each have a unique registration number that specifies the songwriters and publishers. Many companies forget that this system exists and then there is confusion.
Wow, that is a sweet story. Glad the composers got what they were supposed to get.
It seems the real supes are at Narip, mores because they always on that site showing someone. Plus the admin is way cheaper. I want to see a working active major supe name from past Taxi conference, not some A&R who is out of a job, cause the record industry has changed.
But I trust Narip a heck of a lot more.
I actually joined NARIP for a year. I didn’t get much out of it. But this is only because most of the opportunities to meet Music supervisors were in L.A., NYC, Nashville, or Atlanta. If I stayed in one of those cities, I would probably rejoin in an instant.
Why not just pull the track from the cheap library and keep it in the expensive one? Don’t cheapen your music.
I would not say royalty-free is bad, but it hasn’t been good for me. I make all my money from placements on TV shows.
I’ve noticed that a lot of people on here speak of reality show placements. Not an area I’m very familiar with. What sort of genres are these in and are they RF, E, NE?
For me, my placements for reality shows are in electronic music, hip-hop, and pop. Most of my placements are non-exclusive.
It depends. If the people making the music get paid handsomely upfront to create the songs, it would be worth it. Otherwise, it wouldn’t make sense to participate.
The songs would pretty much be copyright free for anyone to use. There would be no backend money. That is why anyone adding music to this service would have to get paid upfront and forget about the music.
This type of job does not seem beneficial for most full-time professional musicians. But someone able to knock out some cool music quickly for one upfront payment could benefit.
I never knew such libraries existed.
That is great news. Congrats!
I guess I can hold my prices for a few more months.
How can you possibly know what shoppers consider pricey? How can you possibly know what a shopper considers “high quality and complex music”?
You are only trying to impose your subjectivity on something (music) that is very subjective!
LOL, you got me there!
There is no exact science to it all. People will pay whatever they feel is comfortable paying. I could lose a lot of money by dropping my prices. But I have to take a chance and do something.
I don’t have the answers but I am willing to experiment and change course if things go wrong. The RF market is a tough one for me to crack, but I am willing to give it a chance.