1,729 thoughts on “General Questions”

  1. Just got my best ever ascap statement today and just had a quick question. At the end there’s a section called ‘symphonic concerts.’ I have one song listed under here and under performer/orchestra it says ‘Fort Worth Symphony Orchestra.’ Does that mean the orchestra actually performed my song during a concert? Or that my song was played before or during an intermission at their concert?

    • Depends on the production company who is producing the show for TLC, if are you talking about the in house shows, that I don’t know.

    • What I do know is a lot of shows on TLC use library music. I’ve had placements on TLC through Scorekeepers and Jingle Punks. My placements have been via library blanket deals. I can’t speak to anything else… Don’t know enough.

      HTH

  3. How about web detections? I thought I would be getting a ton of those when I signed up for web detections but so far nothing. Its only been about 2 weeks.

    • None for me either. I think it may go by file names (don’t quote me). As mine are titled differently than Tunesat maybe I’ll never see any. Been meaning to e-mail and ask them.

  4. [mUSIC: “Even if it misses some unique performances, you will have a nice surprise in your PRO statement.”]

    True, but the main reason I am paying for the service is to detect the cues that don’t get reported to my pro.

    Like everyone said though, it’s not perfect, but much better that not monitoring at all.

    • Yes, I agree.
      But what can you do? You have to go with the flow.
      I myself not using their services anymore because it was too pricey for me (over 300 cues).

  5. Just curious if anyone finds that tunesat misses some performances? I had a new detection for a bbc america show called no kitchen required.

    I went to get a little more info on the bbca website and see that the episode aired three times before the one tunesat detected.

    What have your experiences with tunesat been?

      • Thank you both. I am not concerned about the missed dupe performances, but I would expect that if it misses some dupes, it may miss some unique performances also.

        Good thing, most shows are played many times, so I guess the chances of them being detected are good 🙂

        • i had a track placed multiple times on a few episodes of “The Voice” (NBC) this season & last, Those episodes played and replayed numerous times through the week up until a couple of weeks ago- TuneSat didn’t detect any of them. Could have been the crowd noise mixed in with the song, but TuneSat claims that won’t have an affect. Seems that’s not always the case.

          • Yep- the cue sheets are all there, so I’m good with that. I find, like most, that there are so many factors to licensing- it’s not perfect, and may never be, but keeping the numbers up and continuing to create and branch out are the keys to “success”. It’s all about “failing your way to the top!”

              • By the way, seanm, can I ask what kind of music The Voice used?
                I hear a lot of score type of music that get played forever, man…those are a lot of royalties on NBC.

                • I received an email from Jingle Punks that some of my tracks were pitched to the voice and *may* be used on the series.

                  My cues are rock, electronica and roots types stuff.

                • I have one piece that has been used a few times on The Voice that’s dark rock orchestral with a 4 on the floor kick drum. They use it on a segment called The Battles (according to Tunesat).

                  • I think I heard that Art!
                    Very good stuff.

                    I’ve also received this email from JP, but no placements yet, I make mainly Pop Dance and RnB…if anyone heard anything please tell me. Thanks!

  6. With most music libraries nowadays.

    Your music is only good for Cable Tv Shows and Free Promos.
    Thus the lovely ‘blanket license deal’. How sweet it is!!!!

    But for whom is the question I ask.

  8. sure.

    Just for kicks..

    Here is a major supervisor going under an ‘alias’
    .
    But all the music supervisors know who it.is …
    They interact with him all day long.

    https://twitter.com/#!/fauxmusicsupe

    Actually kind of cool since he is alias.

    He holds no punches and gives good insight on the other sight of the coin.

    Most other supervisor tend to speak indirectly on their twitter feeds when they are frustrated at library practices.
    Cause the accounts are under there actual names

    Nevertheless they are speaking out.

    • Okay, I read through a bunch of his/her tweets. So that’s my alternative? Dealing with someone that’s so full of themselves and tweets peppered with profanity. Uh, no thanks, I’d rather sit it out.

      • Art,

        Which would you have

        A person who curses and tells the truth about the business

        or someone who tweets nothing and says placement
        $40.00 after waiting 9 months.

        $40.00 for 9 months wait is crazy.,lol

        How can you defend it.
        That is backwards hustling

        You will defend it, cause you accept it.

        Once enough composers realize it isn’t worth the meta data time & effort
        to “SOME” of these so-called libraries. Then things will change.

        As long as you continue to just accept the status quo… then you deserve what you get.

          • I reworked my strategy. It is effective too.
            I would suggest you do the same.

            Everyone take is different. But there are ways. You have to do your research and stay consistent.

            Remember this is the age of the internet
            The opps are out there, you just got to find them.

            Ther is a difference in the reward/payoff.

            It ain’t waiting for $40.00 Bucks either.lol

            • Ok, so you reworked your strategy and suggest we do the same. The same as what?
              If you wrote half as much about your strategy as you did for your criticism, maybe we could do what you did as you suggest. So how about some bullets outlining what the plan is that’s working so well for you and we can pick out what we can use.

              • and this is why the ole saying goes…

                “THE GAME IS TO BE SOLD, NOT TOLD.”

                Cause, you can help people all day to the fact
                of reality and they will STILL do what they want.

                Called a troll and everything else in the book simply cause you are showing them why the biz is messed up, Crazy!

                Good luck.. No hard feelings. I’m a Keep it moving
                Do you!, peace

        • When you have high profile companies like Bank Robbers paying attention to him/her that ought to tell you something..

          So who cares if he curses. Curse away. Just tell the truth!

          • cool,

            He just asked me to send some tracks on his twitter, But I don’t think it is wise for me to expose myself either too much. lol

            I guess people were watching the convo yesterday.
            Good talk indeed.
            It really is a small world

            But glad you taken that position.Art
            Just trying to help, even if it is not popular.

    • @bigg rome

      1) I suspect that you’re actually a troll.

      2) Is this really news to you? There have been numerous discussions on this forum about non-exclusive licensing companies doing blanket deals from which writers profit very little. It is a well known occurrence.

      4) There has been many discussions about the negative side of re-titling on this forum. So, now that you’re seeing what a purported music supervisor actually thinks about re-titled music AND the quality, or sometimes lack thereof, it’s a shock to you?

      5) You appear to be lumping all non-exclusive libraries into the same category. Royalty free libraries, like Music Loops, Partners in Rhyme, AudioSparx, Shockwave etc., should be outside the
      scope of your diatribe. Blanket license deals aren’t part of their model.

      6) From my perspective, I never refer to a company like Jingle Punks, or Music Dealers as a “Library.” I think of them a licensing agents. BIG DIFFERENCE.

      • Tomato / Tomato… u want to be so smart, but you sound ignorant.

        They are libraries PERIOD, You know it. I know it.
        Cmon stop with the games

        also I said Some,

        This is worse than the conservative /liberal fights.
        This country is a mess. lol

        • “Tomato / Tomato… u want to be so smart, but you sound ignorant.”

          No Bigg Rome. IMO, they are not Libraries. A traditional library owns the music in its catalog, and usually pays the writer upfront.

          Companies, like Jingle Punks, Crucial, etc ARE licensing agents. That IS what they do, they represent, but DO NOT OWN, your tracks.

          I have not put any music in retitling companies. I prefer to maintain ownership / control of my catalog.

          • Technically Jingle Punks is a retitling company as they add JP to the end of all your track titles 🙂

            • There seems to be some terminology confusion IMHO. A library (or licensing company) offering a blanket license to a client is not a “gratis” deal. It many cases such as with JP or Scorekeepers, the writer does not share in any upfront fee. However, the writer does get the full Writer’s Share of PRO royalties.

              It is the same as a deal such as with MTV where $0 master/sync is paid to the writer and it’s all on the back end.

              “Gratis”, in theory, would mean the writer gets absoultely nothing for the placement.

              I’m not saying it’s GOOD that so many deals involve no upfront money. But laws of supply and demand have driven licensing fees downward. Many times a placement is back end only to the writer. Higher end placements (prime time network, feature films, ads) still have license fees but run of the mill cable TV BG instrumentals often don’t.

    • I agree, it’s reading what all the supes are saying that has me rethinking a lot. I, for one, would be interested in hearing about your reworked strategy.

      • This is what he told me when I asked the same thing above.
        ““THE GAME IS TO BE SOLD, NOT TOLD.”

        Cause, you can help people all day to the fact
        of reality and they will STILL do what they want.

        How’s that for sharing his strategy?

  9. I posted a question on the JP site asking for clarification. The link is http://support.jinglepunks.com/jinglepunks/topics/gratis_placements_pro_statements_and_tunesat_detections_how_to_reconcile

    Copy and paste below.

    I understand that in some cases JP has offered gratis licenses to certain clients. To better track my music, I recently subscribed to Tunesat. The service has been effective, and I am getting reports of various places my cues have been used, but have not shown up in my PRO statement.

    My question is this. I believe there will be some placements that fall under the gratis licensing that may not be required by the client to submit a cue sheet. Is that correct?

    If so, how would I know which client may be part of this deal, so I do not contact my PRO to report the discrepancy between the PRO statement and my Tunesat detections?

    This isn’t a question about the pro’s and con’s of gratis deal, just a logistical question.

  10. This is THEFT!

    Composer should be compensated for their copyrwritten work.
    Play the game ..please

    That is why nothing changes cause – scared money don’t make money.
    Some of these so called non exclusive libraries are getting away with murder.

    Yet all the real money opps go to them and thier own composers.

    i AM SAYING IT NOW FOR THE RECORD.

    In the coming yrs..as more composer realize they aren’t getting any money
    They are gonna leave these libraries thus making them go out of business.

    There has to be a new model coming. esp with TuneSat now being in the picture.

    I call a major foul on all these bottom feeding libraries.

    I spot the game .

    1. Collect a whole bunch of songs

    2. Get a blanket license deal

    3. Sit back and relax collecting the dough

    4. Composer gets screwed.

    I think it time for an awakening, Folks!

    • copyrighted,
      not “copywritten”.

      and I didn’t know I was just “sitting back and relaxing and collecting dough” as you so eloquently put it.
      It sure feels like a full day of work for me everyday.
      And when I pay out more than $27,000 to our 122 composers every month it sure feels like they are earning money.

      Good luck rallying the troops for your “awakening”.

      • why u mad.. KEYWORD IS SOME SO CALLED LIBRARIES

        don’t catch feelings, cause I’m calling out what many know to be true.

        slang = copywritten

        Please, by the time the splits happens composer are not getting much.

        Tell that to a novice. Music Supervisor are laughing at some of you so called libraries.,lol

        A quick twitter search will show this

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