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  • in reply to: Minimum duration for successful identification (CID) #46485

    Thanks, Art! What I don’t know is how “sensitive” their system is. For example, in the most concerning scenario:
    of a VST guitar playing a chord with automated strumming on its own for 3-4 seconds. For a false claim to be an issue, I would imagine another composer would have to use the exact same chord, at the same tempo, and possibly with the same settings. Unless the system also detects similar audio. That is, if two songs have the same vst guitar sound and the same chord, I wonder if the system could ignore a slightly different tempo and consider them the same?

    In any case, I shouldn’t have uploaded those alternate versions where the orchestrations were “bare” in some spots (fortunately, there were only a few).

    By the way, here is a general response I received from GPT on this topic (What reassures me a bit is the last sentence.):

    For most modern Content ID systems:

    Typical minimum duration: 3-5 seconds
    Many systems can identify a song with just a few seconds of audio.

    Optimal duration: 10-15 seconds
    This length usually provides a good balance between quick identification and accuracy.

    Variable factors:
    Audio quality
    Distinctiveness of the music segment
    Background noise
    System’s algorithm efficiency

    Platform specifics:
    YouTube’s Content ID system, for example, can often identify music in as little as 5 seconds, but may use longer segments for increased accuracy.
    False positives:
    Very short clips (1-2 seconds) might lead to more false positives, which is why most systems use slightly longer samples.

    It’s worth noting that while a system might be able to identify a song in just a few seconds, many platforms choose to analyze longer segments to ensure accuracy, especially when making copyright-related decisions.

    in reply to: Country Exemption by BMI? #46455

    Well…That was quite a surprise! I just checked the BMI repertoire and saw that I am listed as the creator of the song I mentioned (and I even have an IPI number in BMI). I’m not sure if this changes anything regarding the “country exception” I asked about earlier, but it raises a new question. I went through the application form and saw that it asks, “Have you ever been a member of BMI?” I haven’t been a member, but since I have an IPI, I wonder should inform them about this?

    Sorry for all the questions, but I’m in the process of registering my repertoire with ContentID and a PRO at the same time, and I feel like I’ve been thrown into the deep end…

    in reply to: Identifyy alts & edits Q #46437

    Hi there,

    This was the response I got from their support team:
    <<All ‘main version’ masters longer than 30 seconds will be accepted… Please DO NOT upload shortened versions, versions with beat tags, or track snippets.>>

    In the first test track, I also uploaded shortened versions and loops (>30 seconds), which they did not reject. However, I’m thinking of uploading the Main Version and, where available, the Bed Version, Acoustic Version, and Minimal Version, and not shortened versions (In other words, only versions that will provide different ‘material’ for the fingerprints).

    @Art Munson. I’m just wondering, what do you think the benefit of uploading the shortened versions would be if they contain the same material as the longer versions? If I understand how fingerprints work correctly, those 29,950 views on the 60-second version would have been counted towards the Main Version if you hadn’t uploaded the 60-second version. Is that right, or am I missing something? 🙂

    in reply to: Content ID: What’s different now? #46431

    Thank you so much Art!

    in reply to: Different Stage Name for each Library #42326

    Thank you for your reply Alan! (…a quick response because I text from mobile)
    I’m not in any PRO.
    About why so many names…I’m on libraries with very different pricing policies so I believe being in each one of them with the same name/nickname would be problematic

    in reply to: Different Stage Name for each Library #42308

    Thank you so much for the link Art!
    Having already made the choice to have various pseudonyms for years, I have indeed experienced the positives and negatives mentioned in the link.

    I just wonder how it sounds to the (non-exclusive) library owner when you tell him I’m in 8 libraries and in each of them I have a different pseudonym. To put it another way, is there any reason not to mention in your initial email that you are in different libraries with different names?

    From my perspective, it seems that it will be a good thing for him. Because he won’t have to worry if any of the libraries you’re in have too low prices. Just wondering if I’m missing something. Maybe it really depends on the individual library as well.


    Thanks baconboi!
    I had already google it but i didn’t use the right combination of keywords. Trying it now, i founded indeed templates and some sites helping you to create step by step personalized agreements. I have to educate myself, to be capable of ” building” an agreement. So while doing this, i’m thinking of using Tunebud and it’s licenses categories as a guide


    Hi Music1234,
    Thank you for the very informative post!
    Maybe i’m totally wrong (i’m a newbie) but reading this sentence “…what would you charge to give me rights to use this song in a game that I’m making?” i thought that the client would like to buy the track directly from me, maybe hoping to a lower price or maybe because as he said he “…couldn’t understand Pong5’s commercial policy”.

    That’s why i asked in the first post what should i send to him, certifying that he legally purchased the track from me? Are there any templates of something like “Proof of Purchase”? Because i thought that he was interested in direct purchase.

    Moreover, reading about P5 licenses ( it seems to me that the Business/Premium License, are differentiated from the Standard (Individual/Commercial) License, only in the number of individuals of the organization that could use the track and in Indemnification.
    So why an individual like this client to pay for an extended license?

    (Somehow i deleted my post , so i post it again)

    in reply to: Tagging – Multiple Tags in the same Subcategory #34402

    Thank you Michael Nickolas. You’re right..i over-analyze it.
    My problem is that often i have for example, a dramatic and quiet music and the only category that fits is “Dramatic, Action, Adventure” but i believe that in this category the client expects to find something that is “Dramatic plus Action plus Adventure” .
    Something like this: .

    Anyway i understand that i have to pick whatever is closer to the track

    in reply to: Agreement – “…without notice” term #34391

    Thank you all for your answers!
    I suppose, the “right to make changes..” is not very rare in the agreements, but the “without any notice” part it seems unacceptable and suspicious to me . How difficult is it to send a group email?

    The Agreement is Non-Exclusive and they will delete any tracks from their system within 3 – 5 business days.

    in reply to: PRO registration of alts & edits #33043

    I have a similar issue and I would appreciate any help..

    In a few libraries, i use long titles (including extra words in parenthesis…for tagging). while in most of libraries i use only the basic title.
    i.e “Bright Faces (Epic Happy Strings Melancholy Strings Sad)”

    I usually heave many edits (8-20). So for each track arising too many potential titles.
    So, i wonder:

    1.Could i omit all the words in the parenthesis or it is part of the title which means i have to write the whole title with the parenthesis?

    2.Could BMI’s system handle 2-3 different title plus 10-15 alt version for each one of them?

    2.Taking into account the above situation, would it be a good idea to register immediately only the tracks/versions i sell (with the exact title it had been bought by the buyer)?

    EDIT: I noticed in BMI’s Work Registration Form, there is a “AKA” field for only ONE alternative title and nothing about alt versions (i am not yet in BMI)

    in reply to: What buyers prefer non-PRO music #32653

    @ro5er thank you so much for the very informative reply!
    I appreciate your help.

    in reply to: What buyers prefer non-PRO music #32641

    @Composer of Notes thank you very much for your answer.
    I have the misfortune to be in a country of Europe where the PRO is totally useless in this type of business. So I have not registered any of my tracks yet. ?n the last few months I have sold some “premium licenses” and had some Tunesat detections from networks in US/UK so i’m thinking either to use a service like Songtrust or to move to another PRO (possibly bmi or ascap)

    in reply to: Possible Sample Clearence #30962

    when I asked the customer to give me information about the project and the type of music use, he would like to do…he just did not show up again 🙂
    Any way, I got a lot of useful information from your answers..Thank you so much!

    in reply to: Possible Sample Clearence #30917

    Finally, this is the meaning:
    “I was asking if I could sample the track for another musical composition. Is it available for this use? “

    My answer will probably be negative or an (extremely) high cost for this, though i don’t know what could be considered as “high”.

Viewing 15 posts - 1 through 15 (of 27 total)

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