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Yes I had lots of false positives too but a lot more accurate ones than tunesat which simply misses tracks in comparison. the prices are negotiable but too high in general for me. Since I only tracked Europe bmat was comparable to tunesat.
Yes I use them since 3 years. They cost a bit less than tunesat and are focused on Europe for what I know but I am not sure. Very nice people, based in Barcelona. Their tracking is incredibly sensible, I get lots of false positives which I prefer to the zilch trackings I get from tunesat in comparison. A real plus is that in your tracking account you can check the video where your music supposedly played. There is also another big one in England called Soundmouse which I also use but I dont have a tracking acc. and no idea how much they charge. Soundmouse reports to GEMA directly for commercials and Bmat reports to Gema directly for German state TV ( ARD-ZDF etc.) Silvermouse/Soundmouse work directly with the BBC.
I pay for tunesat…
Do they charge you for uploading/tracking? Anybody know how much?
jdt9517 said: “I firmly believe that unless the composer is affiliated with a heavy-hitter publishing house, the PRO is not the composer’s friend.”
I can confirm this and its not a believe, it is a fact.The discrepancies of equal treatment begins with the fact that “publishers” are allowed to have membership with ALL PRO’s while we the composers have to go through hoops in case it is (rarely) permitted.GEMA started to use bmat and soundmouse for fingerprinting since last year and we now must upload our files to some cloudserver in order to get our royalties, but this only covers the state-run TV stations. But Gema started accepting tunesat if you have a paid account.
That is probably because BMI doesnt use fingerprint tracking? GEMA started last year.
Gema tells me I have to add the retitled name to the original name thus making the retitler my sole publisher for this track with 2 titles and this publisher (won’t say who) wants worldwide publishing rights. Makes sense now?
Yes pulled from the cue sheet but my PRO will pass 40% to this new publisher even if he was NOT involved in the placement but I placed it…The publishing contract is worldwide, an absolute no go for me for NE.
Some of my best running tracks were made in 4-6 hrs in one go. I think autenticity and having something to say is the point. My big problem is titling I hate that.
Ok so I wonder: if I go non exclusive with 5 retitlers and they all get 50% of my royalties as publishers on Ascap how is my PRO supposed to work this out? Is each getting 10% because he is 1/5 th ? I would have to register 5 versions of the same title with 5 publishers in case its the same track. But the fingerprinting will always see the same file…
With fingerprinting it can create conflicts if you register the new title with your PRO. Mine (Gema) said I have to register it as alternative title on the same work and publishing rights are goner worldwide. I will not work with these retitlers.