[mfaith2]

I know DISCO provides a platform to post your library that is less expensive than Source Audio. I haven’t signed up yet so I don’t know how searchable it is within your own Account. or the entire platform.

[mfaith2]

@bobsstudio If you have Tinnitus with no corresponding hearing loss try checking your posture, especially sleep position. I know it sounds unlikely but it has helped me tremendously. I had terrible Tinnitus, the kind where you think your head is going to explode, that started during a nasty flu and would not go away, but I had no accompanying loss of hearing. For almost 2 years I tried every remedy I could find, eventually to an energetic alignment by a remote chiropractor who recommended I keep my neck straight, both while sitting at thre monitor and also sleeping, especially to put more pillow support when sleeping on the side and less pillow under the head when sleeping on my back.. Remarkably it made a dramatic difference. Now when I have ringing or hiss I also realize I have been sitting leaning forward with my head tipped up at the monitor or some other misalignment. Hope this helps

[mfaith2]

Sorry for double posting :-/ I didn’t know it could take a while for some posts to appear after submitting to the thread..

I don’t remember paying for my ISRC Code and would like a UPC code but I don’t think I need a whole setup like I saw at STEM. It’s just me and no music submitted to any libraries yet, but songs posted online in several places. What do the Acronyms AS and GS1 stand for?

[mfaith2]

Your ISRC Registrant Code is your unique part of the ISRC Code that you embed in your songs
This page has info that might be helpful regarding Music Library assignments.
https://www.usisrc.org/about/assignment_guidelines.html
in particular

2. An ISRC should remain with its recording for the life of the recording regardless of changes in ownership, licensing, territory or method of distribution. The rights may vary territory by territory but the ISRC remains the same.

3. You should take particular care to ensure that you (i) never assign the same ISRC to two different recordings and (ii) never assign an ISRC to a recording that already has an ISRC issued.

I think the Library has to be an ‘ISRC Manager’ for sound recordings or music video recordings owned by other parties, but don’t know how that works.
Also, who is GS1 for UPC?

[mfaith2]

More info re Assignment https://www.usisrc.org/about/assignment_guidelines.html

2. An ISRC should remain with its recording for the life of the recording regardless of changes in ownership, licensing, territory or method of distribution. The rights may vary territory by territory but the ISRC remains the same.

3. You should take particular care to ensure that you (i) never assign the same ISRC to two different recordings and (ii) never assign an ISRC to a recording that already has an ISRC issued.

[mfaith2]

Here is a current link to the online application for ISRC
https://www.usisrc.org/applications/question/1

[mfaith2]

I appreciate the spreadsheet information. I am wondering about SRCO with “International Mandate”. If I own 100% of writing, performing & copyright do I have an International Mandate? also, I have an ISRC code but where do you get an ISWC number? and, I have no UPC code, what is a EAN?
Thanks

[mfaith2]

email from Music Connection had a heading “Music Library Seeks New Composers” The client list is impressive, the link took me to FMN (Film Music Network) Does anyone recognize which Library it is referring to?

Music Library Seeks New Composers

If they are soliciting submissions I would rather go direct than pay FMN for each submission.

[mfaith2]

Thanks for the replies! Very helpful and informative. I guess it won’t hurt to become an HF affiliate for the mechanical royalties but this now raises new questions of how to collect the performance royalties? Do I register every song with SoundExchange? Is all royalty payment dependent on the meta data linked to the file? …and how do we make sure the correct metadata stays with copies of the song? … Should this be a new post?

[mfaith2]

whoops, I tried to do the quote thing in my last post and forgot to close the quote…next time:)

[mfaith2]

I’m curious. I know that libraries ask you to aver that you are the copyright owner. Which libraries are actually requiring proof?

I was listening to a series of interviews with owners of Music Libraries that a woman named Sarah Gavin was hosting online several years ago. There was a discussion on one of the interviews, with a panel of libraries, that some had gotten in bad situations with their clients for trusting that all rights were clearly secured by the songwriter/submitter. I am not sure which one said that they had actually started requiring proof. Some of the participants were Ourstage, Music Clout, Workshop Creative, Nimbit, Dangerbird as well as some Ad Agencies.

[mfaith2]

Yes, they accepted the “best editions”. I also posted the tracks together as an album on Soundcloud but didn’t know if that would be sufficient. The tracks were made to go together so they actually were easily considered a collection.

Interestingly, they sent me 2 different Registration numbers

The first Registration Number, I received 2 weeks ago, has Title of Work: the Album Title and then Content Title: with the name of each of the songs, and then under Author Created: it lists out words, music, performance, sound recording

The second Registration Number, I received yesterday, has just the Title of Work: the Album Title and then under Author Created: sound recording.

I don’t know why they sent a second Registration as I have Copyrighted collections before and only got one document, similar to the first one I received.

[mfaith2]

Hi, Thanks Michael and Paolo.
My main focus is on licensing music. Some libraries seem to require that you have proof of copyright so I made a collection of mostly instrumental “soundscapes” for different uses with names like “Rise”, “Run”, “Wonder” etc., and since I had posted them on a few websites, like Soundcloud and Soundclick, I figured that was publishing.
fyi. The Copyright Office had concerns that the tracks were individual and let me know that to be a published collection you have to prove that “all of the tracks must have been first distributed to the public together as a digital album” either digitally or on a CD.
Since I had no way to “prove” they had been distributed together to the public digitally, I responded that it had been first distributed on a CD.
They then informed me of the “deposit requirement” and that to satisfy the “best edition requirement” the CD needed to be “professionally produced”.
Having been a graphic designer for many years with a color printer that can print on CDs, I had to make a label, liner and cover that would look “professional” to them and send them 2 copies within 45 days or else start the whole copyright process over (after a year and a half!).
Since I can do the graphic production and it is so much more cost effective to Copyright a collection, I think next time I will just make 2 professional looking CDs, submit them for Copyright as Published, and then post them online or submit them to Libraries.
Thanks for your insights and responses!

[mfaith2]

Thanks Michael, I did see your reply about collections on a previous copyright thread. I am not that interested in selling my copyrights, although I would be open to it. I am more concerned about the question of “published” collection, whether that is the appropriate way to go and what the ramifications of going that route mean in this day and age of posting music online and submitting to various agencies or libraries. Also if signing up as a publisher with a PRO what additional responsibilities do I have?

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