[Vlad]

@LA writer, yes. On point and I agree to all of that.

[Vlad]

I am actually surprised to hear that there IS a market for music + YouTube videos at this point.
YouTube has its own free music library and I’ve seen a few popular youtubers using one particular composer that puts his tracks out there for free. Regardless of track quality, the video producer has their needs met without a purchase.

Why would they pay for music at all?

[Vlad]

@Art, part of Aaron’s comment ^^^^ has no place here. This isn’t one of the garbage comment sections of a YouTube video. I will say that Abby handled it like a champ. Bravo.

[Vlad]

Music1234,

You are right on removing music from companies that aren’t producing income. I am now making a list of my libraries that are on the chopping block. It is sad that so much time + energy goes into getting music to some libraries that literally flat out fail to produce income.

[Vlad]

This was my logic as well. Thanks for chiming in.

[Vlad]

Okay, thanks for the info!

[Vlad]

Any chance you can clarify what the YouTube Settlement actually is? I’m getting paid for it as well yet have no idea what it is.

[Vlad]

Steven OBrien, thanks for chiming in. That is the exact historical info I was looking for! I knew someone on these forums would have the inside scoop. And yes, I also targeted the ‘classic sound/modern mix’ approach. I did have a feeling that the stereo mixes were not the primary focus for the early 60’s.

[Vlad]

Hey Art, I don’t think I would produce them in mono, but was just looking for some historical perspective. I like to make sure I really do the homework on genres when possible. And yes, I think stereo probably slowly worked it’s way into households as the 60s progressed. I wasn’t alive yet, so I don’t have 1st hand knowledge!

[Vlad]

I am with ASCAP and don’t ever remember seeing Instagram listed on any statements. (Although that doesn’t mean that it wasn’t there). Not sure if PRO’s collect from Instagram or not.

As regards your situation: just my opinion, but negotiating that they would use your music for free or ‘exposure’ puts the value of your music at $0. I realize they are friends that can’t pay, so perhaps it’s a good idea to negotiate something in return that is a service or other thing of value. It’s been my experience that ‘exposure’ gigs provide value for the recipient and regret for the composer. Again, just my opinion.

Of course, I could be terribly wrong and you might land some clients + gigs. I hope it goes that way!

[Vlad]

One comment in this thread really does look disengenuos and fake. Similar to a paid Amazon review or something. I’m hoping that I’m wrong.

[Vlad]

Yes, it is back up now.

[Vlad]

I’ve had no success. It is giving an error message as if I punched in the wrong user name or password.

[Vlad]

Hi Greystone,

MichaelL is the guy you are looking for. Assuming he does ‘law from a distance’.

That said, yes…I recently heard one of my old tension tracks in a TV show. I started freaking out because the melody in one spot was VERY similar to the Exorcist theme. Different instrument. Different rhythm. Different key. Different backing Instruments. Similar tempo. Similar melodic arc. Same mode (in a different key). These similarities do happen and you probably have to analyze and weigh how egregious the offense was.

[Vlad]

That’s a solid article. Thanks for sharing.

I think each one of us could probably pen an article from a writer’s perspective towards libraries. I have a list of libraries that are/were uniquely themselves and are/were uniquely disappointing, despite massive effort on my part. I also have a list of libraries that are a blessing to be a part of and brought equal effort + connections to the table. The second list happens to be a lot shorter, sadly.

[Author]

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