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Ok so Bobby cleared up that it’s just simpler if you continue to manage your own performance royalties. Although that sentence I mentioned above in the TOS was worrisome – I think that’s cleared up as well.
Some good things that he mentioned are that they are going to be adding a playlisting service similar to disco that will be included – as well as a mastering service similar to Landr.
So the only thing then that I didn’t get a full impression of up front then is the 3 year term on the subscription you choose. We all know it’s a long game on every track so I understand the intent….but just didn’t see that explained anywhere prominently on the website until reading the TOS.
In this new wild west of AI – I don’t really want to sacrifice quality for quantity. This could perhaps be a way to gain an edge on quantity without sacrificing quality – by cutting down on the time it takes to do what’s offered.
I may try this and if so I will keep everyone informed here as I go. Still giving it a bit of thought.
So I was able to find some information on my own on what appears to be a different terms of service than I saw first.
https://app.melodyrights.com/terms
It seems it is following the typical publishing admin path with a LOD. What I do find somewhat concerning however is that when you sign up for their service, you are agreeing to a 3 year contract in which you must pay subscription fees. So minimum payment to retain 100% is about $324.00
There are terms about what happens if they increase their subscription fee but I’m a little unclear about if the next “term” is considered after the 3 years or annually. That could put people in an “unpredictable” predicament. This however is not my greatest concern I read in the TOS.This sentence: “You warrant and represent that you will submit all Compositions that you own, exclusively control, and/or create during the Term.” The term is 3 years – so by signing up and paying for this subscription you are required to submit everything you do during those three years? Not just an exclusive deal for the music you submit – but an exclusively exclusive deal for you as a writer/publisher?
Anyone who can shed light on what they are seeing here in the TOS please chime in. Thanks so much.
Yes – I am however waiting on a clear answer on what PRO registration looks like through Melody Rights. The first rep that got back to me said “they don’t know what they can and cannot reveal” so they transferred me to Bobby. Bobby didn’t quite answer on the first response so I’m waiting to get a clear answer. This is a great concept but needs transparency.
Ok – another update. I finally received a response. Make what you will of this but they said they are months behind on answering queries through the contact form on the website. They said that they are more consistent in answering info@melodyrights.com email.
They also said they are overhauling all of their systems to fix this in the future. I really believe this idea has potential but I’m not sure what to make of not being able to answer potential customers. However, I did finally receive a response so I wanted to update here.
Unfortunately, I need to report that there appears to be nobody responding to questions at this company. I’ve reached out multiple times to the general Melody Rights “contact us” over the past few months and have gotten nothing back. I tried Bobby’s email above and have had no response. I would recommend being EXTREMELY cautious using something that is a “service” that does not respond in this manner. Very disappointing because I thought this was generally a decent concept.
Ok – thanks Art!
I did – first time I didn’t hear back at all. I sent questions to it again yesterday.
I never saw a response to my questions above from last year. Also – I don’t see any terms of service or privacy polices on the site and the links above are no longer valid. Can someone from Melody Rights give an update?
I think this is really good advice OMRE.
I’ve been in this position quite a few times unfortunately. Personally, I have not had luck with ASCAP in this type of situation in which Numerator/Vivvix isn’t providing an ad code because it’s something it chooses not to monitor. I remember being bounced around in phone calls between the NY and Nashville office and basically getting the same answer from both. It’s frusturating because I do know writers who are BMI who have been able to get paid on ads like this. Perhaps someone else may have had a different experience – but mine is that this is one of several shortcomings of ASCAP.
As of right now – I can’t get onto the website and it says service unavailable.
Has anyone tried this service yet? I have taken a look at the site and one of the things that hinders me from giving it a try is that it does not list the stock music sites/stock libraries/gaming music libraries that it is offering to deliver to with a subscription. I see above that Bobby mentioned “Stock Libraries and Distribution Channels: AudioSparx, Motion Elements, DepositPhotos, Pond5, and more in the pipeline” as well as “Gaming Asset Marketplaces, such as V Game, Itch and Unity” – but those were mentioned here on music library report and aren’t discussed or listed on the melody rights site other than in a generality. I think it’s crucial to advertise where your music will be distributed before paying for the service. I only see generalities at the moment on the site such as “tv sync libraries”, “gaming asset marketplaces” etc. but no specifics like was mentioned above on this forum.
Sorry Bobby not trying to be overly critical – I’m actually very interested in the rest of what the subscription offers. However, these details are crucial in my opinion.
