[wilx2]

I still haven’t received the e-mail, and with only 14 days left, this seems like an incredibly short amount of time to have to rearrange digital distribution. For those who received the e-mail – when did you receive it? and what is the subject line? thx. (and is this possibly a scam??)

[wilx2]

Thanks for the heads up Michael!

[wilx2]

Yikes! My first reaction, if this is in fact mandatory, is that many of us will be pulling our songs down off the cd baby agreement and re-uploading directly through iTunes. After all, iTunes accounts for the vast majority of digital sales, so we wouldn’t be missing out on Amazon sales or whatever. Last time I checked it was much more complicated to do the direct iTunes thing, but perhaps they have simplified it by now.

[wilx2]

Thanks Michael! I actually had picked up on that :), but for some reason decided to reply seriousy.

Ba ba booey.

[wilx2]

To clarify, sometimes the music is mixed too low, against the dialog and sound effects, by the person who did the mix for the show, not the person who mixed the song, for Tunesat to detect it, regardless of how loud it is mastered.

But yes maybe you are right – flooring your mastering might slightly help Tunesat detections.

[wilx2]

Sometimes the music is mixed too low to be detected by Tunesat. This happened on at least two network placements of mine in the last 6 months. To be fair, I could hardly hear the music myself! I also have a commercial running now in which my music is just under 3 seconds, and that isn’t long enough for a detection. But otherwise Tunesat is detecting another spot daily, plus some random stuff here and there. Sadly, the one it’s currently tracking plays on many non-ASCAP-generating channels like ESPN Classic and Fox Sports 2, so a very long list of meh.

[wilx2]

Thanks guys. Yes, Denis, you are right. Upon further reading, it turns out composers were contacted and asked to contribute stems, so it’s not as futuristic and computer-driven as I had thought. And I would guess the stems are exclusive to Xhail..

[wilx2]

Indiestudiodrummer.com

Great guy, great drummer.

[wilx2]

…and they’re not buying the copyrights, but tracks would be exclusive to them in perpetuity.

[wilx2]

Hi Michael,

Thanks for replying. I would keep backend as is – 100% of writer. To date, the vast majority of income has been from upfront compared to backend. And yes, proper cue sheet filing is required.

[wilx2]

Just checked my Tunesat account and it looks like detection just kicked in yesterday for the one song I know is airing, 14 days after signup, not that that should be representative of other accounts.

Interesting that for a commercial, it simply lists the program it aired during, and not the name of the commercial. If I didn’t already know the spot I would be doing lots of Googling / DVR-ing to find out. will wait and see if the name of the commercial eventually gets listed in the Tunesat account.

[wilx2]

I just started a new account a couple weeks ago. I only uploaded 15 tracks of the available 50, but I know one of the tracks is currently airing in a national commercial which began running 2 months ago. Saw it on my TV last night. So yes, strange that it is not detecting anything yet.

I do know that the free account doesn’t do retroactive detections (and pretty sure it only detects US placements). I wonder if that means, in the case of a commercial, that it only picks up new spots as they break and not after.

[wilx2]

Hey Michael,

Referring back to your earlier comparison between BMI and ASCAP where BMI seemed to be paying more for the exact same placements – I was wondering if that was isolated to TV shows, or if that included commercials too? thanks!

[wilx2]

Well said, Michael L.

I would also add that, in my experience, I simply can’t make good music when I’m pessimistic. Very important to keep at least some optimism alive in the creative process.

[wilx2]

Nice one Songloft!

I had a feeling it would end up something like this…

[Author]

Posts