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This might help:
There are a lot of factors at play here but some factors that come to mind are:
* How long have the other people been at this?
* Is your music the type of music that people would normally listen to? What I mean is that if you’re writing (for example) reality tv dramedy cues it’s not a particular style that most people would listen to by itself. If you’re writing trailer/cinematic promotional style music you need to find where those people flock and direct from there.
* Where else are you posting your music for people to hear and do those places target more composers or the general public? And to that point, who is your end consumer for your music?
* Try not to get caught in the comparison of numbers for other peoples’ SC pages or FB pages, etc. Some things aren’t truly as they appear. On the flip side though be really honest about what you’re hearing. Is it possible that their music is that much better (written, produced, attractiveness of genre, etc).
* Check out some of Gary Vaynerchuk’s content on youtube. He’s got some insight into music industry marketing. Sometimes you’ve gotta be part of a conversation before you can start your own.Just some things off the top of my head. I’m not saying they’re right or wrong or better or worse than what you’re already doing. Just hoping it spurs a better idea or result for what you’re after. You don’t have to answer those questions here either. Just things to think about in your mind.
Tunesat probably catches anywhere from 10%-20% of my placements.
I had a track used in the 2016 French Open (Tennis Channel). 1:35 of the track used (airing 76 times) paid out $675.
For the OP (Daniel): I’m primarily writing to briefs for a small selection of exclusive libraries (each having their own niche). Sometimes they get used for that particular project, sometimes they don’t. It’s always possible that somebody else’s music was a better fit. However, I am definitely seeing that many of my tracks are being used not only in multiple episodes for shows but also across a number of shows as well. Some tracks get placed a lot faster than others; it’s a track by track and project by project basis. All we can do is write the best music we can write with good structure (thinking like an editor would), put it out there, keep tabs on it, and move on to the next one.
I know this isn’t the message you’re sending (Daniel)…but I feel like it needs to be said. It’s not always the library’s fault as to why your track(s) aren’t placing. I wish we were all a little more honest about that.
I think all you had to do before was send them an email asking for a license to use the product you purchased in library music as long as construction kits aren’t used and as long as their stems were accompanied by others. I emailed them twice about a couple of products and received licenses right away.
On another forum Big Fish Audio posted this news and said you no longer need to permission for this. They also mentioned that this is currently only for their latest libraries and that they’re going back through all of their products (which is a lot) to make things uniform.
So it seems like a good thing but that it’s going to be a bit of a process to get everything changed over.
It’s gotta be sarcastic as I’m guessing they probably get that question all the time. It was probably a form email that they use for anybody who asks that question. How adorable they are!
There are a lot of things I think I’d want to do in this case…maybe making them that Childrens’ Harcore Metal track with vocals, letting them know how much of a d1ck move that was.
Obviously, that’s not a good move for all of us….so….if it were me I’d probably just move on.
3 non-exclusive tracks in (inside of 3 months) and I got a $750 placement check from Music Dealers for a Youtube Target ad.
For royalties it took somewhere in the 12-15 month range (75-90 tracks; mostly exclusive) before I got my first royalty check from BMI…..which was in the $15 dollar range. Ouch….though I’ve only been at this for around two years.
A year later there was a couple more zeroes attached to the end of that. It does get better…..but it just takes time. It’s an awful business model….but it does work.
Humbling…..but I hope that helps.
@daveydad: The bottom of my Tunesat screen has had a similar notice on it for a long time but I’m still seeing placements pop up in my free account. Maybe it’s possible that they don’t show you all the placements they’re catching with a free account? I don’t know….but it hasn’t stopped from placements from showing up in my account.
@BrianDWatson: What is it about the royalty payment process that takes it a year or more to get paid on something?
“Not entirely true. While they will not pay you based on Tunesat detections. Those detections have been forwarded to BMI and have helped in getting cue sheets filed with BMI.”
Good to know.
Not to my knowledge unfortunately.
Tunesat certainly doesn’t catch everything….but you can always use it as a guide for what tracks (and what type of tracks are getting placements, which library(ies) are they with, etc…..all of that done in tandem with any royalty statements you receive from your PRO.
But, again, maybe someone else woth more experience can chime in here as I might be wrong on some of this.
It’s my understanding that the US PROs (ASCAP and BMI) don’t give any status, weight, or authority to Tunesat’s findings, especially against what their own proprietary softwares pick up. I could be wrong on this though.
Bump
I’m resurrecting this topic from a while back. I have a lot infomercial placements for BeachBody’s P90X product going all the way back to July 2015 (via Tunesat). The infomercial has played on a bunch of different stations….yet I’ve not seen a single penny come across my BMI statements.
Have I not given these placements enough time to pay out?