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I’m from Canada, and SOCAN is known for fighting for its members. Now, there’s no guarantee that production music composers will get their fair share, but I’m still optimistic.
That being said, if I was 20, I would probably choose a different career path…
UDIO is definitely impressive, but the legal side of it could be tricky. Some of the tracks I generated with UDIO sound like ripoffs of popular singers. I’m sure writers and PROs won’t let that slide without any compensation for songwriters.
Probably something like
LucyInTheSkyWithDiamonds_mix2
But I just do it the way the libraries asks us to do it, it depends on the library.
It worked! Thanks a lot!
Still not working for me, so if you have a solution, I’d be curious to know.
Yup, same problem here… Hopefully it gets resolved soon.
I know I should probably just read my contracts, but does anyone know if some libraries don’t want composers to sign up to services like Rident or other NR “middle man”? Are libraries taking advantage of that already, or are they also leaving money on the table?
There are many factors, but to answer your question, what matters is the amount of time, counted in seconds. In theory, if they use your music once, but for 120 seconds, you will be paid more than if they used your music 10 times, for 10 seconds each.
I had never heard of TRQK, very interesting… I’ll check out their site to get more details, thanks!
“Don’t have an answer for that. Check with the library.”
Yeah I guess that’s the best thing to do. I’m looking for the best alternative to Tunesat, but it seems like those other options aren’t as simple, at least to me. For something like Source Audio, it seems like tracks have to be watermarked before they’re even released, so that means I would have to watermark the tracks before even submitting them to the libraries… Seems like BMAT doesn’t use watermarks but I’ll still check with my libraries.
On BMAT or Soundmouse, can we upload exclusive cues that were released through music libraries? Or should we contact the libraries first?
If you’re with music libraries who take your publishing royalties, they will register the tracks for you, so you don’t have to worry about that.
If you’re the only shareholder, you just enter 100% and forget the link thing. You don’t have to contact ASCAP or BMI when you select one of them as your US rep. But you might have to contact them if you have a placement on some TV show, to make sure you’re name and info is on the cue sheet and everything. Or maybe you can contact SOCAN when you have placements. All my placements were through music libraries, so I don’t know how it works when there’s no publisher.
I think you have to be careful with Youtube’s adrev program, or whatever it’s called. Some music libraries don’t accept music that is part of Youtube’s adrev program. If I’m not mistaken, many beatmakers use BeatStars to get Youtube royalties, so if that’s your case, you might not be able to upload that music to some music libraries. And when you sell your beats online non-exclusively to rappers, there’s a big chance one of them will submit the track to Youtube’s program at some point, and it can end up becoming a mess to deal with.
I’m not saying you shouldn’t give it a try, but yeah, do some more research, and always read contracts carefully.
No problems! Sometimes SOCAN does miss some airings, I guess those things can happen with any PRO. But overall, they’re quite transparent and reliable.
I’m with SOCAN, and as a member, I can see how much money you should get for placements on every Canadian networks.
According to the “Royalty calculator”, 1 minute of theme music on Discovery should give you $13.24, but that includes the publishing pie, so it’s $6.62 for the writer.
So if your team is actually 20 seconds, and you only own the writer’s share, then you would make $2.20 per airing. That equals to $1.73 in US money as of right now.
I also have access to the performance data, so I could tell you how many times and when the show aired if needed.
But yeah, sometimes they’re 1 quarter behind.