[Mike Marino]

I’m finding it harder and harder to even find films I want to pitch for no less finding anything that pays decent-to-well.

[Mike Marino]

I think this video sort of sums it all up:

http://youtu.be/NHbUROGAGYQ

[Mike Marino]

Thanks for the information, guys! Yeah, I think I’m just looking for little inspiring tidbits of “hey, a track was placed here or there…” etc. I’m not really searching for info on possible money amounts (etc) prior to each quarter. Too speculative.

Great info!

* On a side note: have you ever explained this entire business model to somebody outside of the music industry? Just curious if I’m the only one who gets the pan-faced “what-the-frick?!” response, lol.

[Mike Marino]

Get used to no one telling you when or how your music was used.

That’s what I thought. Just making sure I didn’t miss something. My wife is far more patient with this than I am; we just didn’t know if there were ways to check on music usages ourself beyond quarterly royalty statements and Tunesat is all. So apparently not and that is what it is.

Now you can tell your wife you had music used on CBS

Yeah, she knows about it…and is probably more excited than I am, lol.

[Mike Marino]

@Pat: What are you checking with on BMI each day? You can view your works catalog….but your royalties statement is only updated each quarter when issued (as far as I know). So I’m not sure what else would be updating there that would help show us the bread crumb path.

[Mike Marino]

@gigdude: I agree.

So here’s what it feels like in my shoes starting out, right?

Start of the quarter
Wife: Any placements this week?
Me: * shoulder shrug *

4 weeks in
Wife: Any placements this month?
Me: * shoulder shrug *

6-8 weeks in
Wife: Any placements so far?
Me: * shoulder shrug *

8-10 weeks in
Wife: Any placements?
Me: * shoulder shrug *

10-12 weeks in
Wife: Anything?
Me: * shoulder shrug * We’ll find out soon?

Lather. Rinse. Repeat. Every quarter.

So based on what I’ve learned here, this is what I should get used to with BMI as my PRO (outside of using Tunesat free or paid).

A couple of things. Firstly, my wife is not at all nagging me; these conversations are always followed up by her saying “Well, keep writing. All these guys say it takes a lot of time.” She’s trying to understand this lack of information as much as I am.

Secondly, I hope it doesn’t sound like I’m complaining; honestly, I’m not. I’m just trying to understand that this is what I should be getting used to.

[Mike Marino]

@gigdude: Thanks for the info! I get the patience thing and it’s extremely important. I’m good with knowing that it’s going to take a while for things to ramp up (if they ever do). I was just double-checking my assumption of not being able to check on progress (outside of Tunesat) beyond hoping a check shows up in the mailbox once every 3-6 months (between libraries and my PRO).

I don’t think your daily monitoring of cue sheets is unhealthy; that’s exactly what I’d like to be able to do (if not at least weekly).

Why is it that one PRO would go through the trouble of keeping cue sheets available while the other one wouldn’t? Simply lack of manpower?

[Mike Marino]

Thanks Art! I do currently have the free account and am starting to upload tracks. I know what’s “heard” by Tunesat is not always “heard” by BMI, but I suppose this is about the only way to really know (outside of any libraries that stay in touch regarding placements)?

[Mike Marino]

Here’s the link to Cinematique Instruments:

http://www.cinematique-instruments.com/index.php

Their libraries seem to be pretty solid and sound great (as you heard in this video. They’re also fairly inexpensive with some freebies also available.

[Mike Marino]

Thanks for sharing!

Nice sample choices in this composition. Definitely gave some thought to picking them up. I’m always looking for those string/picky type Thomas Newman sounds and you certainly have a lot of them here.

[Mike Marino]

Great discussion. I think a website can be useful if done properly. I think it all depends what your end game really is. I don’t think you get away with not having a website if you’re aiming for film or games, or if you’re selling your music and/or services online. If that’s not you, then maybe you could go without a website…or do a simple (and free) “splash” page from Wix (like Sean mentioned above). You could just use a Soundcloud account or Reverbnation or iCompositions, etc too…but then, you’re at the mercy of those media sites (for better or worse).

The big questions to ask yourself would be:

* Why are they coming to my website?

* What are they looking for when they arrive at my website?

* What do you want them to do when they arrive at your website?

* How do they know? (which ties into the previous question).

[Mike Marino]

Wow, what a great idea, DI. You and Art are extremely generous in your thought of paying it forward.

How should we submit names and information blurbs to you? Posting it here or via private message?

I have someone in mind.

Thanks,
Mike

[Mike Marino]

* hiding in shame *

http://soundiron.com/pages/artist-interviews-2

[Mike Marino]

How does tunesat know the title of the track if the track is with two libraries and has two titles?

I believe it matches to audio filename that you upload to Tunesat. On the track list, you’ll see that filename and Title are two separate values. So despite what the Title would be, it’s listening to match audio….then (I believe) it’ll report based on that particular filename (if that makes sense). If I’m not mistaken, I believe that’s how it works.

[Mike Marino]

I don’t think the title will matter because Tunesat is matching what it “hears” via the audio you upload to the site, regardless of the title. That’s my understanding at least.

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