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My understanding about group registration is that it could be.a problem if the destinations of the compositions comprising the group registration go to different entities, e.g. some pieces go to X library, some go to Y library, etc. Since they share the same copyright number, all the compositions in the group would really ‘belong’ to the new publisher/library when you may not want them to. Is there validation to this?
Good solution, thank you Art!
I have always started each session at bar 2 for the same reason, but obviously wanted the final cue to line up correctly with the grid without having a full (or even half) measure of silence in order to do so. I was curious as to how much.
Interesting idea for using the cycle range.
Art, do your start marker and first note align, or do you leave a slight silence at the start of the cue? Thanks.
If the music is for a library which later may or may not need stems, then how important is it that the stems combined exactly equal what was given to them as the stereo master?
Point being that generally the full stereo mix may have been “pseudo-mastered” (a.k.a home mastering with plugins on the 2-bus). If so, then the stems will not equal the full mix.
So do you master the full mix, with the stems and/or alts not equalling the mix? Or, do you instead put plugins (i.e. saturation, tape, compressor, whatever) on each stem bus—with nothing on the 2 bus—so that the “mastering” is done via the stem bus processing? (that way the stems would equal the mix). I don’t mean smashed mixes…I’m talking about maintaining as much of a dynamic mix as possible with appropriate and expected loudness.
Basically I’m asking what is the best way to go.
And on this topic, do you incorporate any tape / saturation plugins, without issue? I’ve heard that it can cause problems in broadcast use (causing harmonics that may alias), but don’t have a definitive answer on that.
Regarding the part about signing up with HFA in order to collect, would the library deal allow us to directly collect mechanical royalties?? because I thought only the publisher gets the mechanicals on CD/DVD sales and then would distribute 50% after their take, in which case since a library is considered the label and the publisher, is the purpose just to be paid in the US for streaming that wouldn’t happen otherwise? And SE to act as NR for streaming, since the US doesn’t do NR? (Or maybe I’m late to this thread!!)
Registering your cues with Sound Exchange and HFA won’t interfere in any way if they are signed to a library, yes? (e.g. such as the issues with Content ID). Are there any downsides to this with the library, and would you do this before or after the cue being signed? Or just for tracks you want to release?
For this, do you need to set yourself up as a publisher (only if the cue was not represented by a library or else designate the library publishing entity), and have a label too?
(In another thread it was mentioned about also registering with AFM and AFTRA for performer payments. IIRC, some libraries won’t sign cues which are involved with the union/union musicians, so am I correct in thinking you would not do this for cues signed by such libraries?.)
Thanks.
I too got that notice, but I never put anything on Spotify nor do I subscribe to it, so didn’t know how or why I even got that notice??
Create a database (or spreadsheet) to list each song with its metadata and other info, so that you can sort and search by said criteria.
I resurrected this very informative thread rather than starting a new one on the same subject. From reading, it sounds like an LLC does not give protection for [unintentional] infringement. Since one can file a Schedule C as a sole proprietor / claim income without an LLC, what would be the reason(s) for a composer to have an LLC if it is not beneficial for infringement? (e.g. it benefiting a composer specifically, not talking about bank loans). Possibly to get an ID number instead of having to use the SS number with libraries, or can you do that without having an LLC? Thank you!
Yes, so why use the pseudonyms when any library can see those pseudonyms via a PRO lookup? Is it thinking /expecting a library will be thrown off course when seeing a pseudo on the RF site, they won’t look /investigate further at the PRO info?
When they check you out to sign you or register a cue they will easily find out.
How can a pseudonym really hide one’s identity when a library can see the alt names listed with the PRO?
And by the term stems, are they asking for submixes or individual instrument tracks? Just curious since people seem to use it both ways.
Thank you Art! So your mastered mix will sound different than the [non-mastered] individual tracks…the libraries are OK with that, yes? In other words, if you send them stems, do they ever complain “this doesn’t sound like the [orig] track we got”?
Art, in your mix do you do any “mastering”, therefore your rendered mix incorporates that? Or do you do your edits first, then run them all through the same mastering/louder process (using the same setting for all)?
Another question regarding stems & mastering if the library requests stems:
(By stems I’m referring to submixes of drums, synths, etc. The word “stems” on the internet seems to also refer to individual tracks):
If the final mix they have been given has some sort of [self] mastering, then what is done about the stems? Since each stem can’t be run through the same mastering fx, the stems won’t sound the same as the “mastered” full mix that the editor/library already has received.
Thank you!
I was thinking about this myself. I’m in the US and would prefer not using my SS#, so wanted to look into this as I’m not an LLC or corporation.
@Kubed: for the EIN though, do you have to have employees? I had thought I wouldn’t qualify going by the details on the IRS site.