[yzzman1]

Really interesting topic and Rob has some great points to consider. Nonetheless it sounds like a win if you like what the singer does. Very cool.

[yzzman1]

That’s interesting Mark – didn’t know that.

[yzzman1]

I’m about even. What’s interesting though is the RF library that has performed best for me for a few years actually performed horribly for me this quarter. But to counter that, one of the other libraries that only performed mediocre for me before has been extraordinary this quarter. So it all has evened out.

[yzzman1]

In my experience with TuneSat it seems like the MetaData is more for you to refer to when you see detections. It is fingerprinting the integrity of the file not the info you fill in the metadata forms. So yes, if it the track is edited by a post production team you will still likely get the TuneSat detection. A lot of the detections I’ve had were edited somehow….

[yzzman1]

Thanks for posting that article. That was quite the read to say the least!

[yzzman1]

This is interesting. All of the replies have great feedback in them. However, the question I posed referred to cue sheet “success” stories – situations in which you were “successful” in getting cue sheets filed when they were not filed correctly, on time, etc……and how you went about it. Perhaps the lack of replies indicating success stories on this subject suggests one or more of the following? (based on feedback and other things I’ve read on MLR)

1. Most of the time it’s a lost cause?
2. It can be done but it’s too much of a hassle and most composers don’t bother?
3. Many composers are unaware of many uses of their music and the appearance of the cue sheet/PRO payment is the only way they know their music is being used?
4. Because certain PRO’s use their own surveys as an equal companion to cue sheets (in order to be paid), composers often feel they don’t get paid so much of the time that they feel defeated before they start hunting down cue sheets – and don’t try because of that?
5. Payment is often so little that composers sometimes feel it is not worth the trouble? (Although small payments can add up a lot over time)

Just some thoughts. It seems this is a true uphill battle for one or more reasons.

For me personally, I have had success hunting down one cue sheet recently…..after TuneSat’s detection and having the deadline pass for my PRO…..I used the library at an intermediary with the production company. The royalty it paid was a grand total of about $14.00. And although the amount was so small – it just felt right to get paid something in the end.

Granted I’m just starting to get more frequent tv placements now, and I can see where consistently dealing with this could get quite daunting. But it seems if we don’t fight the battle – no one else is going to fight it for us…..not the PRO’s, not the libraries, not music supervisors, not production companies.

However, I can see where down the road if I continue to keep getting tv placements (very thankful if I could be so lucky to continue doing so)…..the battle could get quite tiresome and take away greatly from the music making. How I feel now may not be how I feel down the road?

Thanks for everyone’s replies. I really enjoy reading other’s experience.

[yzzman1]

I haven’t had luck with my PRO either but did get a cue sheet reported once by contacting the library that placed the music. They got in touch with the production company and got the cue sheet submitted. But definitely had no luck dealing with the PRO directly. Perhaps certain PRO’s are of more help in these scenarios?

For me Tunesat is the main way I know of usages. Very curious about peoples experiences with misfiled cue sheets and if their PRO was of any help in those particular cases?

[yzzman1]

I think it’s value is in how you use their service. If you are able to find out about more uses of your music than your PRO is reporting – it’s possible there are missing cue sheets. If you then in turn are able to track down the cue sheets and get yourself paid on the usage…..well then TuneSat’s value starts speaking for itself. I personally love the service – especially because of how much music goes unreported or reported incorrectly.

[yzzman1]

Wow that’s a really good idea if there is some way to accomplish it. I have wanted to post some things as well but didn’t because of the same reason.

As for the very few private forums – join for a little bit and you have access to them and the even more valuable – music library listings! Let’s not forget that maintaining a reputable website such as this does cost money. Art has been kind enough to offer much of it for free. He doesn’t have to.

[yzzman1]

Have you tried Audiosocket?

[yzzman1]

I also seem to do well with Pond 5 and Music Loops. They are two of my favorite for sure.

[yzzman1]

Wow

[yzzman1]

I received a few hundred bucks from them through Beatpick for in store radio play. Not bad considering I wasn’t expecting anything.

[yzzman1]

Both of the books you mentioned are fantastic. They are also quite different from each other which I find to be a great thing. I’ve been through both several times and still consider them top level reading material. Another book I like a lot is “Hitmen” by Frederic Dannen. Talks about a lot of the scandals that have gone down in the music business over the past 50 or so years. Good knowledge to have.

As for the music library business though – there’s so much information on THIS site.

[yzzman1]

Really curious to see how this turns out….could be a very important step in improving this ongoing problem.

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