mfaith2

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  • in reply to: Registering Cues With Soundexchange and Harry Fox. #32310

    mfaith2
    Participant

    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?

    in reply to: Registering Cues With Soundexchange and Harry Fox. #32303

    mfaith2
    Participant

    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?

    in reply to: Registering Cues With Soundexchange and Harry Fox. #32305

    mfaith2
    Participant

    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.

    in reply to: Registering Cues With Soundexchange and Harry Fox. #32302

    mfaith2
    Participant

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

    in reply to: Registering Cues With Soundexchange and Harry Fox. #31517

    mfaith2
    Participant

    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

    in reply to: Pay for submissions #31430

    mfaith2
    Participant

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    in reply to: Should I become a Harry Fox Publishing Affiliate? #29754

    mfaith2
    Participant

    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?

    in reply to: Copyrighting a collection as Published-good or bad? #27171

    mfaith2
    Participant

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

    in reply to: Copyrighting a collection as Published-good or bad? #27170

    mfaith2
    Participant

    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.

    in reply to: Copyrighting a collection as Published-good or bad? #27169

    mfaith2
    Participant

    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.

    in reply to: Copyrighting a collection as Published-good or bad? #27167

    mfaith2
    Participant

    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!

    in reply to: Copyrighting a collection as Published-good or bad? #27153

    mfaith2
    Participant

    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?

Viewing 12 posts - 1 through 12 (of 12 total)