[Paolo]

thank you Mike, thank you composer,

Tunesat is matching what it “hears”

It detects the track, not the title

How does tunesat know the title of the track if the track is with two libraries and has two titles?

Thanks,
Paul

[Paolo]

bump

[Paolo]

@MichaelL I have to add a thank you.

Before I called them, I had read in one of your posts that some PMA libraries have to know you first by introduction or they won’t work with you.

And that really softened the blow because I knew I was going to hear that – I just didn’t know from which ones! It was like Russian roulette (without the possibility of death).

So it didn’t throw me at all – I just thought – okay there’s one – and i was able to go on and make more phone calls. And was able to make connections with other PMA libraries and start writing for them.

So you did a good thing there.

Paul

[Paolo]

@MichaelL I see what you mean. Thanks Michael. Paul

[Paolo]

Try to meet someone face to face. Get on a train. Get on a plane. Go to a meeting

This might be a silly question. By meeting you’re thinking an event/meeting open to the public? That would be somethign they post on their website> Thanks, Paul

[Paolo]

Although it seems that when I shed a little light on reality it’s unpopular. I’m just the messenger.

And on the other hand, it was great to know immediately where I stood – everyone respecting each other’s time.

I understood there would be no point following up until I had an introduction so I really did appreciate their bad news 🙂

[Paolo]

Some I called and some I emailed. They’ll tell you their preference on their website.

[Paolo]

Has anyone submitted music to these guys?

Hey daveydad – I just started contacting and submitting last summer. It’s exciting to talk shop with them and it’s interesting how differently the libraries handle inquiries.

99% percent of that came through personal networking and recommendations.

Hey Michael – that’s cool that’s how it worked for you. That’s what two libraries told me. That they had to know me first before they would even continue the conversation. Where’s the love!?

[Paolo]

thanks Art.

[Paolo]

They don’t take a cut just for detections

Thanks for the reply art. I’m trying to get a better handle on how Tunesat charges the composer; I Hope you won’t mind a follow-up question:

When you recoup money from a cue that was detected by Tunesat, does Tunesat take any portion of your recoup? Or is the only fee you pay to tunesat their monthly subscription?

Thanks!
Paul

[Paolo]

bump

[Paolo]

Thank you Art!

[Paolo]

I have found a number of shows detected where my name was not on the cue sheet or cue sheets hadn’t been filed

Hey Art,

This is very helpful. Could you share how you get the cue sheets so that you can compare the tunesat report with your PRO statement.

Thanks,
Paul

[Paolo]

If you’re talking about formerly non-exclusive libraries, that are now exclusive…

thanks for the reply Michael. This is good news (I think). I was referring to exclusive libraries that were always exclusive. They don’t pay upfront but they pay half of all licensing monies (plus songwriter PRO and sometimes 50% publishing PRO).

[Paolo]

I’m not sure that there’s less money in TV for everyone. IMO it is being concentrated in the hands of those aggregating the most cues.

Hi Michael,
How would that work? Do you mean that they might be receiving a different, but favorable, percentage pay that is different from others? Like a bonus?

I said a long long time ago that the shift from non-exclusive to exclusive was not really about music editors being tired of getting the same cues…

I’m fairly new at this (a few years) and just started workin gwith exclusives (for sync money). Do you still feel that exclusives (ones that have been around and are profitable) hold good opportunity?

Thanks!
Paul

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