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I was in Pond 5 for several years. Then, they began to squeeze us to take a bigger piece of the pie. I recall them announcing they planned to offer our Tracks to train AI. They did NOT offer an Opt In/Out. That’s when I dumped them. I’ve tightened-up all of my agreements. Fractions of Pennies won’t due. Now, I won’t deal with anyone unless it’s worth my time.

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RM90:
CBS owes me for a Cue used on Big Bother. I’m beginning to wonder if this is a common thing for CBS.

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Beatslinger: Good question. I gather AMERICANA is a very broad genre. I’m doing acoustic instruments. Dobro, Guiitar, Mandolin, Banjo, Harmonicas. Fairly traditional stuff.

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Beatslinger: Yes. I’m doing brand new “virgin” tracks.

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Thanks, Michael. I published a few books through Mel Bay. I learned that you have to give ’em what they need, all done & tied-up in a pretty package. It increases your chances.

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Thanks, Beatslinger. I’m going to the PMA Conference. Trying the “Face-To-Face” approach. I’m doing my homework beforehand to see where this album might fit.

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My newer stuff always sounds “sonically better” than my older tracks. I attribute it to improvements in my mixing, plugins, sample libraries, hardware, etc. My older tracks often benefit from a new mix. Free time is always the problem.

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When AdRev first appeared they said “someone” claimed copyright infringements on MY music in MY videos. I contested the claims with YouTube. AdRev backed down. Then, they pestered me with emails (a lot) trying to get me to sign-up. The concept of a service tracking use of my music is appealing but… AdRev just seems a bit sketchy. Until they convince me otherwise, I don’t want anything to do with them. Besides, what are you going to get from them? Fractions of pennies?

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At this point, I’ve got 8-10 letters from Harry Fox on behalf of Spotify. The number of mistakes is suspicious. I think Spotify is deliberately making it difficult to trace copyright owners for payment.

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I think some of this “Record Label” stuff is just a hold-over from older days. I registered my publishing company with ASCAP. I use that name when people ask about my “Label”. When a Library licenses your track for use on a Compilation Release, doesn’t that qualify as a 3rd party release anyhow? The Bottom Line should be: Is the track getting played somewhere where royalties are collected?

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Interesting question.

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Excellent.

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BTW: Is anybody familiar with SX Works from Sound Exchange? It looks brand new.

https://www.sx-works.com/noi-lookup

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On my To-Do list. I get a lot of web use. Haven’t bothered with SE so far cause I’m assuming the royalties are small. I’ve also got a large enough catalogue to make the prospect of registering each track daunting. I still need to make the plunge.

[ENW1]

Thanks, daveydad. Good to know.

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