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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.February 26, 2019 at 10:17 am in reply to: Bouncing stems – same or different volume from stereo mix? #31764
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.November 4, 2018 at 4:48 pm in reply to: Registering Cues With Soundexchange and Harry Fox. #31176
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!!)November 4, 2018 at 1:13 pm in reply to: Registering Cues With Soundexchange and Harry Fox. #31175
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?.)
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!February 9, 2017 at 9:40 pm in reply to: Working with Higher End Libraries AND Royalty Free Libraries #26815
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.