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Hi
Yes they do pay : 0,02 cents per seconds approximately.
I would agree with Art Munson with the 1/128 buffer
But I encoutered problems with some samples library, mainly tempo locked loops from some kontakt libraries that have some problems to start exactly at the right time if there isnt enough space between the start time and the midi note triggering the loops.
Mainly this doesnt happen with all DAWs, but sometimes it happens with Cubase.1000 tracks or 1500 tracks is quite a lot.
With around 500 tracks in 12 years, i’ve managed to get -to my european standard – rich.
If you think 1500 tracks is enough to live “modestly” , imo you either arrived too late in the business or you write average tracks or you work for bad / average music libraries.If I can be ”rich” (>150k USD pear year) with only 500 tracks, then it’s reasonable to think that 1500 tracks to live “modestly” (for me it’s around 30-40K USD ) is a bad signal.
IMO, the strategy of quantity in today’s world of library / production music isnt the right strategy.
You have to establish a close relationship with a great music library. The advantage to that will be that the library will have a tendeny to sync more your tracks, because they will know you because of the relationship i’m talking about.
Of course your music has to be awesome to establish a great relationship with a great production music library…Not easy in 2021. I think it will get even more difficult to live properly on library music, be prepared guys…
great topic;
do any knows if outdoor channel pays any royalties ?
I might be completely old school although i’m young, but I really dont see the point of NFT….
Ok you’re selling stuff in NFT instead of usd$ , but does anybody going to buy you an album for 1 million dollars ?
of course not..I really dont see the point for us, unfamous composers..
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 ?