[gen5020]

Thanks for the replies. I finally heard back from Identifyy and they explained to me something I wasn’t aware of. A track needs to be in the Identifyy system before it starts being used on YouTube in order to collect any money. This accounts for all the videos using my track not generating any hits.

[gen5020]

Love the cover Monkeyman! Have you tried Crucial Music? Great library that recently started a call for covers. Best of luck to you!
Dave

[gen5020]

Hey MatixDot, you could take a look at Music For Sport. I have some track with them but haven’t submitted for a while. Good folks.

[gen5020]

Thanks Art!

[gen5020]

Thanks for taking the time to explain it Alan. This just adds on to my ASCAP frustration. You should be paid for every placement…not just the “lottery”! Glad you hit it on this quarter though.

[gen5020]

Congrats Alan! could you explain what a “survey payout” is? Appreciate it!
Dave

[gen5020]

Thanks for the question Michael. Yeah, he was a composer and arranger before and after the war. He did some originals but most were covers of old standards and his recording reflect both. I am totally aware of copyright and how it all works. The hard part is doing the research to find out what’s original and what’s not. You can’t just throw these up on SoundHound and have them spit out what the song is.

[gen5020]

Thank you for your kindness MM!

[gen5020]

Daveydad, I sincerely hope all is legit and that nice chunk of money is all yours, but you are right to question it. About 8 years ago I got an ASCAP check for 35 grand writers and another 35 grand publishing. I immediately called ASCAP and asked them to check to make sure it was right. It turned out that a live ongoing show was running my music under what was going on every night for a few months so it looked correct. A year later I got the dreaded email that ASCAP regretted to inform me it was wrong. The show used a blanket license and I got a few bucks for it. After contacting lawyers and ASCAP big shots trying to fight it, I had no recourse and had to pay it all back by way of half of my royalties goes to them and half to me. I finally got my writers paid back a few years ago and still working on the publishing. Bottom line, I am never confident of anything when it comes to ASCAP and I’m pretty sure BMI is no different. It’s the only place I know that you can give you money and then take it away years later.

[gen5020]

Thanks RMcGravey90. It’s not like some of us really rely on that money…what a crazy system.

[gen5020]

Im not sure we can blame the ASCAP if we were down this quarter. From their email: The good news is that this distribution is funded in the same amount anticipated before the coronavirus outbreak. In fact, our March/April distributions are up from last year, and among our highest ever.

[gen5020]

Oh, good to know. Yes there are shows. My wife watches a show called “Return the Favor” with Mike Rowe of Dirty Jobs Fame. It’s actually a fun show and some of the times I’ve watched it with her, I have heard my music. I was wondering if I’d ever see any backend on it. I’m sure there are other shows out there daveydad… I just know of this one. Congrats on the $12!

[gen5020]

Thanks for the info guys!

[gen5020]

(first time writing). Great video Michael, thanks. So I’m looking to start my own web/production music site to sell my tracks. Having many of these tracks in RF libraries like P5, Audiosparx, Crucial etc… will my future clients get the content ID issues when they get my track? I have never signed with ADRev personally. If the answer is yes, is there anything I can do about it? I assume these are watermarked so just retitling isn’t going to help.

[Author]

Posts