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it is really on a case by case basis.
Its surely.a lot more costy than tunesat.. but a lot more useful with a better interface and a way to visualize exactly where, which, and when your catalog works. With beautiful graphs, numbers.
The nice thing is you can have the video of your detections (quality depending on which channels, some are really low quality, other are better)
The cons of BMAT is if you do sample-based music (loops or even multi-sampled virtual instruments ), it will sometimes detect a s**t load of ….. false positives.
I can have at times 10 to 15 false positives everyday.
And not necessary loop based false positives, but sometimes Bmat wil recognize one string sustain note and says “hey it’s one of your cue !” whereas it’s totally not one of your cue. But a particular show uses a music in which there is ONE string sustain,let’s say a Db3 , from symphobia sustain patch, and the detection engine is so precise it will detects that in that show in that particular moment, it’s the same string sustain NOTE that you also have in one of your track.
Some days I don’t have any false positive, but someday I do have a s**t load… it can becomes really annoying.
Finally i’d say bmat is like 10 to 20 times more expensive than Tunesat.
Well, I’m just giving an advice regarding the LOOPS, not the use of the single sounds.
I have put my whole catalogue on vericast and the system, widely used by PROs worldwide, detects a lot of false positive especially on cues that use loops like Damage 1, the famous epic tech menu for instance. Also, a lot of cues where I used some Heavyocity Evolve Mutations or Evolve AEON melodic loops, I get a lot of detections of cues that are clearly not mine, although the loops in question sound the same.
I’m just trying to be on the PRO side. What do you think the PROs will do when they detect multiples cues with the same loops ? do you think they go as far in their research. Imagine that particular cue is not registered or the cue sheet is incomplete. Well I guess the most powerful publisher (like Sony, Universal or whatever) will get the money because one of their track was false-detected in that particular show because of a loop.
I’m just warning composers : you should really not use any premade loops, especially the one from Heavyocity which are highly recognizable and so effective that many composers use them instantly after buying them.
IMO, the loops are disturbing PROs in the money collection. It makes their life harder to recognize which cues belong to which composers.
The problem is almost non existent with totally original tracks, as recognition system never make any false positive when the content is completely original with no loops.
Im gonna buy it but to use only for original music purposes.
The temptation (in production music)is too high to use the loops, even if you are creatives with them, and the problem with library music is other composers will use the same loops as you and it will create sooner false positives on Tunesat / Vericast.
The thing I’m more and more sure is the more loops you use, the more false positives you get on music recognition services like Tunesat, and the less money you get from these tracks because it creates many issues between different production labels and writers who claim these tracks at the same time.
It’s a lame move.
How are you supposed to make a living on web syncs/ commercials / YouTube / Netflix or such things that generate next to nothing as back end ?
I heard there was no sync fees / mech fees with WOM (west one music) is that a standard behavior in UK?
Is sync fees the same as mechanical fees (sorry it’s a different term in my country hence my confusion when reading that WOM contract )
Having no sync fees seem like crazy, as it’s not indicated on the contract I’m getting confused.
How are you supposed to make a living if you have music used in a web trailer / commercials if you are not given any sync fees ?June 15, 2020 at 1:02 am in reply to: Competitrack / Numerator again questions for a US Commercial #35157
Well, thats so little…
Sometimes, i’m wondering , how are you supposed to make a living with library music on USA channels? You need to have 1 000 000 airings per year ?
this has to change, seriously.June 14, 2020 at 1:17 am in reply to: Competitrack / Numerator again questions for a US Commercial #35145
I actually know how all this works. I just eventually wanted a rough figure of how much I can expect to get on average on a national network and on a cable network. See if it really was worth the time to get the performance royalties. Like if it’s 1000 dollars for 2000 airing then not worth it. With 2000 airing in my country it’s like 10000 dollars you know …
I would prefer not to post the AD as that would mean revealing the brand and subsequently the ADcode to lurkers and I don’t really trust American PRO system : someone could take the adcode and reclaims the performances.. a bit paranoid certainly.June 13, 2020 at 2:34 pm in reply to: Competitrack / Numerator again questions for a US Commercial #35143
I sympathize Art Munson. Don’t really understand the difference between a healthcare and a food brand (my case) … it’s so silly.
Thanks for answering, but also my question could be roughly, : how much minimum does a 30scommercial pay on a cable network ? and how much does it pay on average on a national one ?June 13, 2020 at 3:55 am in reply to: Competitrack / Numerator again questions for a US Commercial #35140
HI there, upping again for another questions
how much does FOX pay per 30s commercial around 10 pm PST ?
does fox sports pay also ?
does nbc news sport pay ?
is CBS a national network ? how much does it pay for a 30s commercial ?
thx for the numbers guys.
hmmm… sounds like scam to me.
They ask 20% of your earnings just because your brazilian PRO can’t properly do its job?
Just ask 10 times a week your pro to do its damn job. You’ll save 20% of your earnings.