[RM90]

Thanks TBone! Posting an update, I did basically what you said a few days ago and got the issue resolved. Coincidentally the phone number they listed is no longer in service but the email worked.

Anyway, now I will be issued a SESAC account for the tracks in this particular library and they will collect US royalties for those tracks. I guess you can be a member of 2 PROs as a composer in certain circumstances.

[RM90]

I do a wide variety of styles, mostly instrumental, no trailer music.

[RM90]

Hey Allan, good topic idea! I think those sub publishers you mentioned are still considered the majors. I personally do well with APM, Sonoton, BMG and Universal. I have no experience yet with KPM. As far as 5 Alarm and Warner go, they don’t seem to do that well for me. Perhaps I would remove those, but am curious as to how others do with them. Also you maybe could add Megatrax to the list.

[RM90]

Jdstamper my Tunesat has been similar lately. I’m getting new detections for months where I was already maxed out with 50. In some other cases I only had to look back 5-10 detections to see what just showed up. It appears they are catching up though after the recent maintenance.

[RM90]

Cue sheets sometimes disappear on ASCAP and then reappear. Not sure why but it shouldn’t be an issue.

[RM90]

I do like Tunesat. It doesn’t catch everything, but it’s a nice free way to see if you’re getting placements in the US and Europe. It is quicker than waiting til you receive your statements. And Afilion is right, it doesn’t do streaming platforms or Asia, Africa, Australia etc. At the least it helps me see how much my music is getting out there, especially when working with new libraries.

[RM90]

It does sound like a scam. I would reach out to Songtradr and ask about it.

[RM90]

Can you send me your email?

[RM90]

I wouldn’t worry too much. It can take a while for international track registrations to show up on ASCAP. Also the cue sheets only show up on ASCAP for domestic (US) placements and those show up late frequently.

[RM90]

Why not improve the instrumentals until they are good enough for the big libraries? When I have tracks that aren’t accepted for briefs or whatever I usually just hang onto them until an appropriate use for them comes up. The RF market isn’t worth it for me anymore.

[RM90]

Are you suggesting reaching out to the international sub publishers? If so I don’t think you would have much luck, as they are usually large companies that don’t personally deal with submissions. If you are suggesting reaching out to other contacts in other countries be cautious of the language barrier. If it is the same company but just in another country I say give it a shot.

[RM90]

Hey guys, wanted to share a happy update. Since posting this I did receive my first 4 figure payment! I’ve been working with exclusive libraries for about 2.5 years and enough of my stuff is finally published and trickling through the slow PRO system. Out of the 400+ tracks I mentioned there are probably 300 live with libraries. Needless to say it is exciting and encouraging. I probably wouldn’t be in this boat without MLR. Thanks everyone and cheers!

[RM90]

Yes you will get additional payments if it airs in other countries.

[RM90]

I tried that with ASCAP, and they sent me the same generic message that they sent before.

[RM90]

I’m not seeing the date stamps either.

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