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many composers stay away from ContentID as it might impact their sales
Right! I’ve stayed away from it and even that doesn’t keep problems away.
I started a youtube channel recently as a way to promote my RF music. To start, I uploaded simple videos featuring ten of my ten best selling music tracks and included a link to where they could be licensed. Eight out of the ten videos I uploaded triggered a copyright claim and were being monetized by two non-exclusive companies I work with.
No matter if this was an inadvertent action on their part. Like Art says, it affects sales. It also puts me in breach of other agreements I’ve signed stating my music will not be in content ID. Non-exclusive companies need to wake up to this issue. They need to audit their content ID catalogs more frequently and work harder to respect the rights of their composers.
Yep, it’s the name of a library. I posted my story with them on their MLR page.
FWIW- you can change the ISRC assigned by AS. It’s not possible by default, but if you email them they will enable the capability. So if you already have an ISRC assigned to a recording, or if one becomes assigned later you can avoid having two different codes for a single recording.
There isn’t much similar to Crucial, just because they are non-exclusive. So a direction to point you to is towards exclusive libraries. You might take a look at https://heavyhittersmusic.com/
Did you get the impression the teenager who created the beat is getting a writers share, or was the $30 it for compensation?
Explanation:
“This debit occurred per erroneous matching of the wrong cue sheet…We did have to delete the erroneously matched performance, hence the debit adjustments that appear on your April 2019 royalty statement.”
Relying on cue sheets is such an inexact science given the technology available today.
Yep, I’ve been doing that. Still a tough nut to crack.
Same here. Also no response to my writing them for an explanation.
Always check the music releases of the libraries you want to work with thoroughly
Quite true. More than once I’ve been told “we would take on your album but we just released one in that style”.
You’d have to keep your own spreadsheet and compare the numbers to find out where the new ones came into. Probably too much work, especially if cue sheets number into the thousands.
It’s a bit easier to notice when a new series is added though. Those are displayed alphabetically, 25 per screen.
Not that I’ve ever seen. The filter option gives you a bunch of ways to search but date isn’t one of them.
focus on music that is harder for a kid with some loops and good samples in Garageband to put together
Great advise and something I’ve tried to do for years now! My last two tracks were in the style of early swing. I worked with a co-writer able to record (and seriously play) real piano. I played real banjo and guitar and hired a woodwind player to come in and record clarinet and tenor sax.
I think library income these days is only a part of the puzzle; at least for the large percentage of writers. It needs to be augmented with other sources. I song-write for the educational market, write articles and do the occasional live gig. Others teach.
Do them in order of which project you think will sell the best? I mean you can never really know what will sell, but maybe an educated guess.
Or do them in the order that fills the biggest hole for the library. Start with the project that is in the style they have the least of.
And even if the library doesn’t give a deadline, it doesn’t mean you can’t give yourself a deadline.
It is interesting, thanks.