I did get paid pretty nicely on this, but I should note that I had to go through a lot of extra effort with ASCAP to make sure that they would pay me for this. They may be better now but several years ago they were not good about tracking infomercials at all in their system. I had to open a special ticket and provide them with a lot of data, which included information from tune sat as well as the actual media buy information, which I was lucky enough to procure from Guthy Renker.
you can watch the clip below which still exists out on YouTube… My song “5 Good Teasons” appears at about:28 in.
As soon as funds allow–maybe in July–I plan to get a pair of the Avantone Mixcubes. I’ve been hearing great things about them. You really get a bang for your buck since they are only $269 at Sweetwater. They’re 93dB efficient so you can run them on just about anything. Plus, they just look really cool. I love the sleek, retro design.
Ever wondered if what you’re getting paid for your film/tv/game tracks are commensurate with what’s being paid in the industry in general?
I’m definitely sure I’m NOT getting paid enough, or at least for ALL my placements. With TuneSat and some better ASCAP reps now in arming me with the technology and power I need to hunt down those ever-elusive back end royalties, hopefully that’s changing.
Here’s the latest 2011-‐2012 edition of Film Music Magazine’s Salary and Rate Survey, with data current as of June 2011. They compiled this information based on “extensive research, interviews and information gathered from professionals throughout the film and television music industry.”
Great piece about songwriter from the Village People, who has finally terminated a publisher’s rights to his music.
“When the Copyright Act amendments went into effect in 1978, it meant that songwriters could terminate copyright grants to publishers and record labels 35 years later. If they were to do so, however, they need to send their termination notices not fewer than two or more than 10 years from the intended termination date. The result is that 2013 is the first year in which musicians can effectuate a termination notice, and a number of them who created works in the late 1970s are now under the clock to do so or forfeit the right for the foreseeable future.”
This article has some great tips, in particular, how to pitch a unique story (you as the unique individual). In my case, I have the advantage of the still commonly-held view that women doing anything technical or with making beats is “unusual” and not a part of our DNA. Hogwash!
I also agree that keeping the story local (although Los Angeles is hardly a small town) is good, and as is being very specific about how you approach each person (and don’t spam them with follow up emails!)
Just a quick note to say how pleased I am so far with Tunesat. In only a month’s time, the software has already brought up 50 detected instances of my music on TV. Excited to announce a few new networks I’m on now, like FUEL and Comedy Central!
The majority of the instances are for my song “5 Reasons Why”, which got licensed to Tria Laser for an informercial. That sucker is airing constantly all over the place! I think we can look forward to some nice backend royalties for that! I’ll have to get on the horn with Lynne Enman from ASCAP about 6 months from now to document everything…
I spoke with a really cool rep from TuneSat today. Attached is a little peak at their interface. They have a digital fingerprinting technology that will track your songs as they appear in broadcast. They are much more accurate than ASCAP’s sampling surveys/techniques (though, to ASCAP’s credit it has improved a lot over the last few years) and have gotten music companies/composers a lot of additional money. In fact, their technology has resulted in so much extra discovered placements/money for composers, it has overwhelmed ASCAP. I know for a fact when I’m talking to the back end royalties folks, they are completely overwhelmed trying to keep up with it all.
I’m wondering if anyone who is a “semi-pro” indie composer, basically someone doing music/licensing thing part-time but making good money at it, is using this service? For a full on music library or production house, the investment is not so much. But at $27/month (first tier of pricing to track 50 songs, goes up from there) and a year contract, this is not overwhelming, but significant to an indie composer on a very tight budget. can anyone give me some feedback? It’s not the monthly rate, but the year commitment, that is slightly intimidating.
But i’ve gone into my budget and eliminated other waste, like my $10/month box.net account (dropbox for me now, even though it has less features), and now using Blue Host/Word Press to host all my sites for a much more economical/manageable solution. And I’m sure to truly see results, you have to be using the service for long enough…as we composers know, there’s a long turnaround time for any music appearing in broadcast–you can expect to see the records from ASCAP and payment until 9 months later.
I work with a couple of companies who own my tunes exclusively and are pretty tight on tracking things, but I have a half dozen other partners that do the “re-titling” thing with my tracks. Who knows where my stuff could have been used without my knowledge. Any way you slice it, “found money” is extra
We Speak Silently by psykickgirl
Here’s a remix I did this summer of the very talented band Wendy Darling‘s track, “We Speak Silently”. I *think* the band may have parted ways, but singer Cori Price is currently working on some killer new material. She sent me some tracks in progress and I really like what I’m hearing. I hope we’ll be working together again soon!
Exclusivity in contracts with licensing partners is something I am nervous about. It’s a tough call, because the “re-titling” process is looked down upon, but offers me more flexibility to proliferate my music (although I’m careful to limit things so that I am not “spamming” myself everywhere). At the same time, I think I have seen (well-established) companies work harder and the monetary rewards bigger with exclusive situations. For example, I have a couple partners (Harpo, Musikvergnuegen) that
compensate me upfront for writing tracks for them, then the arrangement is that they exclusively own those tracks but I collect
the writer/performer royalties for my lifetime. Both companies have been doing GREAT with getting the tracks placed a lot and lots of revenue coming to me (both from front end licensing fees and back end royalties). However, a few other exclusive deals I had amounted to nothing and I had to work hard to end those contracts…some really good tracks “went to waste in hiding” in my opinion, for several years while a company tried to get its operational ducks in order, etc.
Welcome comments about your experiences and opinions!