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Thanks Art for your response, appreciate that.
@domahidimusic, have you ever had any placements? Do you have any idea how the sync licensing business works – for real? Or do you just assume you understand it with no experience? Honest question.I can’t speak for anyone but myself and the company I work for, Music Opps. I did not found the company, it’s owned by some other folks, but I do run the day-to-day and head-up the listening and pitching we do as well as the contact we have with all artists who submit their music for consideration for our different opportunities.
You are assuming a LOT about how we operate our business and what we/I think, which is absurd, a bit obtuse – and certainly not fair to either me or to Music Opps.
-As for the time I spend, think about how much time I’m investing in just responding to your accusations here on this platform… that you have no proof of, and yet accuse me/Music Opps of unjustly. I am simply responding to, and trying to set the record straight on what you assume to be true, and yet isn’t – not in our case at least, which again, is all I can speak to.
– I don’t understand how you can disagree with MY business practices when you and I have never worked together on anything, ever that I am aware of. Have we? Would you like it / appreciate it if I assumed the worst about you with no proof? You’re (still) lumping me/us in with all other bad experiences you’ve had with this business model (or have heard of… or assume exists).
-Why we we don’t expose our direct client contacts: Our clients have asked us to never give out their information, due to nonprofessional communication of artists, so we cannot divulge that, or… they won’t be our clients any longer. I’m sure you probably don’t believe that, but it’s the truth. They don’t want people calling or writing them to ask “WHY HAVEN’T YOU USED MY SONG YET AND WHEN WILL YOU?”. See how that can QUICKLY go bad for them?
-I personally listen to every submission that comes in, in its entirety – sometimes multiple times, and consider whether or not it will work with what the person has submitted it for. After that, I WRITE THE PERSON BACK and let them know if it will work or if it won’t and if not, WHY… maybe their production value wasn’t high enough, maybe their vocals need work, maybe their melody/hook needs some attention – all in the context of what our clients ask for and what they choose based on previous successful placements with them – NOT to judge their art. The other thing we do that NO ONE ELSE DOES is: we consider your song submission for OTHER OPPORTUNITIES we have and will pitch it for those opps if we feel it has a chance at a placement. We often cross-pitch songs to multiple opportunities for FREE for just the one $15 submission. No one else does this that I am aware of. Is this still unfair and a terrible business practice? Cross-pitching songs for free? How terrible.
-Most of our placement opportunities are open-ended, which means there’s no hard deadline and are not looking for just the ONE perfect song for that spot. Instead, we often place MULTIPLE artists within ONE opportunity… like a library for instance, or retail radio… those opportunities are ALWAYS looking for Great Music, so it’s not like it’s a one-and-done situation like you’re describing where there is only ONE winner and everyone else “loses”. Again, this tells me you have no idea about what you’re talking about with regard to how we work and what we offer versus other companies. Again, do some research before you start accusing people of things that are not true.
-We listen to and respond to everyone that submits their songs. Everyone is treated the same ~ fairly. I spend whatever time I need to listening to and responding to artists. They often write back with further questions, so I address everything as it comes up. What more do you want me to do that I’m not already doing?
-Is $15 really asking that much for someone who has professional experience placing songs – hundreds of them – into different opportunities from television, to indie films, to commercials, to video games, to retail radio, to satellite radio – is it really asking that much? An expensive cup of coffee? And on top of that, you as an artist/songwriter get to keep 100% of your song’s earnings/potential? We don’t keep publishing or PRO. We don’t even split sync fees when applicable. The artist keeps everything. THIS is somehow UNFAIR?
There’s clearly no point in going on with this as you have your mind made up, however, you are assuming the worse about the company I work for, with ZERO proof of anything. You’re simply stating what you THINK we are about and what we do, but you have NO “proof”. It’s all accusations based on nothing more than a hunch and I resent that type of mentality.
In any case, best of luck to you and know that I will not waste any more time responding to your diatribes on this or any other platform.
Sincerely,
Doug
Thanks Art, I agree. There are bad apples out there, but ALL of us are not bad. This is our chosen business model so that artists can retain MORE of their hard-earned money (100% of all of it) – and only being out a few bucks to submit to a REAL opportunity where their songs are pitched and considered (if applicable to the opportunity) is a good deal for all involved. Can you as an artist do that on your own? Not usually. We have the connections. You, as an artist/songwriter may not…
The $15 is a binding contract between the submitter and us so that we HAVE to listen and consider it. We make no guarantees on pitching or placements, but… we do GUARANTEE that each song will be listened to and considered. If you send your stuff somewhere for free, do you have that guarantee that ANYONE will even listen to it? Of course not. And they usually don’t…
We encourage the people who have doubts about what we do (we can’t be held accountable for all bad apples, which this person seems to want us to do) – we ask folks to reach out to the artists themselves who are on our Success Stories page and talk to them. Find out what their experience was like. Is that so hard?
People who make blanket statements like he has obviously had a bad experience and for that, that is too bad… however, we’re not ALL bad and I personally have placed hundreds of songs in different sync licensing and supervision opportunities.
Bottom line: If you’ve had trouble placing your stuff, maybe instead of blaming others, you should look a the quality of your own stuff and see what is getting the placements (hence, the reason for our Success Stories page). Yes, there are some scams out there, however my company isn’t one of them. I urge you to do a little research on your own.
Best,
Doug
Hi all, I was just made aware of this post. [Note from moderator: Please contact Doug directly about issues with Music Xray and why he is no longer working with them.]
As for legitimacy, please have a look at our Success Stories page on our site and feel free to contact any artists on there and ask them about me or Music Opps, Broadjam, etc. https://www.musicopps.com/search/label/Success%20Stories
We charge for submissions because it’s the ONLY way we have to generate income for the work we do. We do NOT keep any of your publishing, none of your backend/PRO, and none of your sync fees (if applicable, which they would not be in a radio situation). If we were to get you a $1000 sync deal, your fee to us would still be……………$15. That’s not a good deal? Tell me how to do it differently.
We have a great working relationship with Broadjam and are continuously placing their artists in different licensing opportunities from music libraries, to satellite radio spins, to retail rotation, to Sports TV, video games, you name it.
If anyone has any doubts, please contact me.