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I got the pretty much the same response asking about NBA TV.
I once won the ASCAP C/S lottery though. I had a piece used on HBO show up in the sample survey instead of the usual census. Paid out $2,237.14 for a single placement. Not sure if that makes up for everything I’ve missed out on over the years…
I have Ozone 7 but I’m on an analog mastering kick these days. I run my track out digital to my Allen and Heath mixer and use its analog eq along with a hardware compressor on the inserts. I record it back in via the mixers A/D convertors and proceed with other plug-in sweeteners and the limiter. It’s fun for now, a way to break up the usual way of doing things…
Do you recommend any digital platform where I can upload track by track that are of different genres?
Look into DistroKid.
I would think those keeping track of those things have a spreadsheet already and simply back it up to a cloud service…
Love it, that’s taking it to a whole ‘nother level
Good to hear! I did okay, even took in a fair amount on the publishing side.
I do collaborate, but one consideration is their understanding of the business and their ability to respond quickly. When I hear of an opportunity or have a contract presented that needs the attention of a co-writer I want to be able to pursue it quickly!
Sync fees are drying up and it’s quite possible none was charged by the library. Is it ok? Well, I doubt your paperwork says they are required to charge a sync fee for every placement, so in that sense it’s up to them…
So did I (14 song album), because I heard it was popular. Had a few P5 sales. Here’s an example:
Jazz infused tracks, and more complexed chordings/arrangements don’t do well in “TV Libraries” BUT they do really well for Movies,
True. And if it helps anyone almost half of my tracks accepted by Crucial have jazz elements.
This one has done really well for me, and it’s only 37 seconds long!
You’re 100% correct Michael. These companies need to pay attention to what they’re doing, follow YouTube guidelines and act responsibly with our assets. Instead of telling us “oh, that wasn’t supposed to happen” they need to get their act together and not let it happen in the first place. Composesr do not need to waste their time fixing libraries mistakes.
I posted recently in another thread about having this exact same problem. I started a YouTube channel to promote some RF tracks and link to my P5 page. Eight out of the first ten I uploaded came back being monetized by two different NE libraries. And like Mark says, multiple offenders. I had been told by both in the past my tracks had been removed. I’m sure, like Art has found, that many others of mine are still improperly (illegally?) in the system. I mentioned in my previous post that what bothers me is the companies doing this are putting me in breach of contracts I’ve signed with NE libraries stating I would not have my music in the content ID system. I agree it is very much so getting out of hand.
By the way, during all this I learned from adrev that there is no way for them to remove tracks from YouTube’s content ID. They have a process in place of deactivating reference files so content ID won’t be able to make any matches but tracks are not technically removed from content ID by adrev.
The hard part is sounding authentic next to the writers who are the masters of one genre. The good news is that very often the mainstream market prefers a neutral, some would say watered down, version of authentic.
Good point Michael. I asked a contact at a top library once if they needed any world/ethnic albums. He said no, and when we do we just go to a writer from that country! Duh.. On the other hand my biggest seller is a South African style piece so I keep trying different things.
I made a list recently of my top tracks being used in TV shows and my top RF sellers, hoping the information would guide me towards what to create next. Everything from country music to Bollywood was on the list and nearly every track on the list was in a unique style. So my vote is to branch out and create in many genres.
For what it’s worth it’s not any better at ASCAP. Our next statement isn’t until July, but from a past statement:
Amazon,16,890 streams, 0:17 – $0.20
Hulu, 123,612 streams, 0:08 – $0.41
Netflix, streams not reported, 0:15 – $0.68
Libraries need to collect decent sync fees for tracks placed into shows that will only be streamed and not broadcast. Back-end is an insult.If you mean multiple tracks all in the same style, I don’t see why not. A while back I heard that Lo Fi was doing well on Pond5 so I uploaded a collection of 12 or so. Different ones have sold.