Forum Replies Created
Beatslinger: Good question. I gather AMERICANA is a very broad genre. I’m doing acoustic instruments. Dobro, Guiitar, Mandolin, Banjo, Harmonicas. Fairly traditional stuff.
Beatslinger: Yes. I’m doing brand new “virgin” tracks.
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.
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.
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.
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?
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.
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?