If you are a composer and/or songwriter, please leave your comments and experiences with this company. We want to hear the good as well as the bad! Please rate, from 1 to 10, by clicking on one of the stars. Below is some general information but we make no guarantee of accuracy. Check with the company for all details. Please contact us for any corrections. |
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| URL: | http://www.manifestmedia.net | |
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| Twitter: | ||
| Facebook: | ||
| Accepting Submissions: | Yes | |
| Submit Online: | No | |
| Submit By Mail: | Yes | |
| Submissions Reviewed: | Yes | |
| Types Accepted: |
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| Charge For Submissions: | No | |
| Up Front Money: | ||
| Royalty Free: (non-broadcast use) |
No | |
| Exclusivity: (Exclusive, Non, Semi) (Semi = Free to place on own but not with another library) |
Non-Exclusive | |
| Re-Title: | Yes | |
| Set Own Price: | No | |
| Contract Length: | 3 Years | |
| Payment Schedule: | Quarterly | |
| License Fee Split: (writer/library) |
50/50 | |
| PRO Split Based on 100%: (writer/library writer/library/publisher or writer) |
50/50 | |
| Requires Licensee To File Cue Sheet: | Yes | |
| Pays On Blanket License: | ||
| YouTube Content ID: | ||
| Active Site: | No | |
| Offers Subscriptions To Clients: | ||
| Notes: | ||
29 thoughts on “Manifest Media”
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Art has listed the contract length as in perpetuity. I have their contract and it is a three year contract. Can someone confirm. I am a newbie.
Just updated the listing. Thanks for the heads up!
Hello there,
Manifest Media is a decent company, yes the accepted out tracks in to our library. We also, because of there diligence have been successful with placement. Which has cued me to start a company who does make our tracks available for music supervisors. (Output Media)
About placement, they were able to get 4 of our tracks into MTV Cribs episodes. We are very thankful for the hard work. We hope with our new volumes that we may get more placements with them. We may solely stick with Manifest to manage our catalog.
If you are a music supervisor, we would love to here from you as we are registered with Ascap and ready to provide you with our music.
Rate them as an 8 on a scale of 1 to 10.
Only because we would like to have more interaction with them regarding placements and
also would like to know how often they are submitting. Overall, a good company.
I’ve placed my music with Manifest and they’ve gotten my music on numerous TV shows. The royalties were paid to me directly from ASCAP, which is great. Manifest doesn’t take the money first. They’ve been up-front about what they can and can’t do. And they’ve done right by me. The first time I heard my music on TV, it was a wonderful feeling. All the hard work I’ve put in over the years, now paying off. Two thumbs up for Manifest Media. They offer better splits than Pump Audio and they’re more of a boutique library, focusing on top quality not quantity.
“The royalties were paid to me directly from ASCAP, which is great.” – Jim
Why wouldn’t they be paid directly to you Jim? That’s standard procedure.
Their FAQ says that:
“Songwriters based outside the United States who are not yet registered with an American PRO must choose either ASCAP, BMI, or SESAC to represent your music for performances in the United States. Then, you must inform us and your home PRO which US PRO you’ve chosen to represent you.”
Is it really possible to be a member of more than one PRO?
From my understanding, no you cannot be a member of more than one PRO. You can switch (which I think is very complicated) but according to the terms with BMI you cannot already be a member of a different affiliation.
Not in one country but you can be represented by a different PRO for countries or regions. I haven’t done it but a number of composers have as the claim is you get paid more and quicker. Read this: Benefits of Joining Overseas Royalty Societies
How does this model work if you are in control of a library of music by different writers? Do they take all the publishing when retitling?
No, they don’t take all the publishing. I emailed my contact at ASCAP to find out: Every songwriter should be represented by only 1 PRO in the country where they live.
Then, if they are licensing music to another country, they simply choose (not register) which PRO they want to collect their royalties from airings in that country, and then that PRO will forward their money to their home PRO, who will cut a check to the writer. I know, It’s a bit confusing.
But, no, as a songwriter, you should not register with multiple PROs. And no, this does not change the cut that a library such as Manifest Media takes. The splits stay the same. It’s just that PROs are only able to collect money in the country where they are located. Hope that helps.
I’ve been listed for 18 months now, had about 25 tracks accepted, nothing so far in the way of placements.
But I did receive a followup email from the company president, thanking me for my submissions and confirming that the site and potential customer base has been expanded substantially.
We’re in a tough business! Patience is a handy skill when you’re waiting for those payouts from BMI…
–>S.
ABC: No, that’s not necessarily true. Re-titling applies to PRO royalites but splits of upfront license fees are a totally separate thing, independent of that. Libraries, re-title ones or other, have different deal on license fees varying from the composer getting no percentage to 50, 60, or 75 percent.
Just to clarify “get the publishing” since the word “publishing’ is used in different ways by different people.
Re-titling allows a library to collect some or all of what is called “the publisher’s share” (50%) of performance royalties without taking ownership of your song or actual “publishing” in the exact sense of the word. It simply differerentiates one library’s usage from any other as far as PRO’s are concerned. It is different than a publisher or library owning your publishing rights which generally means you’ve assigned the copyright of your song to the publisher in exchange for payments as detailed in that contract. In either case, the writer’s share of performance royalties (50%) is usually yours.
Thanks; I understand this as follows (please correct me if wrong). if a track is retitled, the author will get royalties but not the additional upfront payments.
I’ve some tunes with them and they have retitled them, from what I see on the ASCAP site, but I’ve no other information on the placements. They say they retitle when they get a placement, so I am hoping to see something on a future ASCAP statement.
Thanks for the info. Can you please explain what is “retitling”? Is it the usage of the same music under different titles / author names registered in a PRO?
Retitling: renaming a track so that the library company can register the new name with ASCAP / BMI, and get the publishing.
I have been cleared to sign music to this library, but have not done so yet. They seem to work on the same philosophy as Pump Audio, that is: they take everything that is broadcast quality. So their catelog is very big. This is not necessarily a bad thing or a good thing. They do get placements.
Does anybody have experience with http://www.manifestmedia.net ?