[HelsinkiFades]

You’re absolutely right Art, and thanks for your swift answer. I was actually after infos about conflicts with Exclusive Libraries. After my research the only useful info was by a user called Adam:
“As soon as the tracking software used by those companies recognises the tune, my client receives a copyright warning to take down their video or they’d receive a strike. Three strikes and their Youtube channel would be suspended. I work with major media companies, and if any of them received one of these takedown notices, they’d stop using me immediately. The media companies often don’t have time to find out the ‘why’. They want fast & simple.
Would you rather have a few dollars from an ad revenue system or a placement from Viacom / Bauer / Netflix / Marvel?
For this reason alone, please ensure that if you submit your music to a library, that it isn’t with a revenue tracking system.
Speaking from personal experience”. Adam is a library owner so he should know better.
So Identifyy sounds like a bad idea if you want to avoid trouble in that specific case.ù

I’d still like to know other fellow composers idea on the subject.

[HelsinkiFades]

I’m relatively new to the business, although I’ve been a part-time musician for well over four decades. I started delving into library music/sync late 2019 and found a publisher in my country that deals with about 70% of music contents in the national broadcast field. But I decided that I needed to expanded my business and not put all my eggs into one basket. So I joined the course about 8 months ago and found it remarkably useful. Michael is an experienced composer and has worked for BBC documentaries, among other things. What I found very useful was that he is also a library owner himself, so you get the perspective from both sides of the business. He’s a great person and makes himself available. MFI is very well laid out and detailed. All the necessary topics regarding the sync business are covered in a logical way. There are topics about how to best create cues, for example, so that they are immediately appealing to Libraries and editors/Music sups. Well, the list of topics covered is too long to detail here. You also get a one year subscription to T**I. I decided to try that route as well and over the course of a few months I subbmitted a total of 11 tracks for 5 requests and 8 tracks in total were forwarded. I got 2 responses: one from an award winning library asking me to write a 10 track album for them. And one from another library asking me for more songs of the genre I submitted. Not just that: Michael regularly adds contents to the course. He emailed a few times all the course’s members, with links to him reviewing libraries who were potentially looking for cues in specific genres. I sent four tracks to one of them, a six grammy awards winning music lib, and, after a long process of editing to meet their very high standards, two of tracks were finally accepted. I’d advise to join the course to any beginner to intermediate level composer. It’ll save them a lot headheaches and many, many months surfing the web and trying eventually to make sense of all the info, let alone having a working method to approach the business of sync. Anyway these are just my two cents.

[HelsinkiFades]

Thanks Art for your quick response!

[HelsinkiFades]

Same here. Timestamps are actually very useful. Art, is there any remedy to this?

[HelsinkiFades]

Congratulations, that’s very encouraging for all of us, thank you! Do you mind me to ask since when you’ve been in the game?

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