I’m curious as well about what kind of solution we’re imagining here, actually, and I’m not trying to be facetious in any way, but really don’t know what to do myself. In a way it was a lot easier when there were no checks at all on illegal use – at least that way I could throw my hands up and say “what are you gonna do?”
I respect the decision of Sky and others who are swearing off AdRev, but although the great majority of my tunes are also AdRev free (I have a handful up on Audiam as a trial) I don’t think I could guarantee that I would never eventually submit them. Honestly, I think the real solution is for YouTube to provide a better experience for people who have valid licenses, dealing with it on the front end rather than the presumed guilty approach which is frankly pretty threatening.
As for the “song and dance,” we are musicians after all… But seriously, we’re not making up the illegal usage issue. For instance:
- I did a google search just now on my profile name and found several sites listing my songs for download without my permission. Just about anybody on AJ with any number of sales can probably do the same.
- The 3 songs I’ve received reports on from Audiam clearly yielded hundreds of illegal uses in a month. I have probably about 500 songs for sale under various profiles and sites – extrapolating that the illegal use is actually quite staggering
- Worse, and sorry to harp on this in yet another thread, I’ve had others digitally fingerprint my works, and paying clients have been dinged for copyright violations of those people’s “works.” This is the main reason I’m considering using Audiam or AdRev’s service for all of my tunes. To repeat myself from elsewhere – unwinding these situations are far and away worse for me and my paying clients than the usually less than 24 hours it’s taken me to clear songs through Audiam.
To break it down (for the non-exclusive case):
- Song price = 18.00
- Buyer’s Fee (20% of the song price) = 3.60
- Song price – Buyer’s Fee = 14.40
- Author’s Commission (36% of the song price) = 6.48
- Author’s Fee (44% of the song price) = 7.92
There’s also quite a few forum threads in the Notices from the last few months on the changes that it might make sense to catch up on.
I’ll start by saying I have no clue . But I’m glad you posted this, because literally I had never even thought of doing something like it and now I’m curious. There appear to be a couple of places that allow you to publish and sell your sheet music online (didn’t want to post links even though I’m pretty sure these aren’t competitors, but just googling “where to publish sheet music” brings them up).
Also, you may want to check out a self publisher for books, like lulu.com. I have used them before for a novel and was pretty happy with the service. I haven’t tried publishing sheet music, but it looks like other authors have if you browse through their for sale section.
Just curious – what software are you using to transcribe your music (or are you doing it by hand :))?
Antonio, I think you’ve described all of 2014 to me! Outside of the music scene, I’ve had a lot of stuff go on this year – all good, but time, money and energy sucks. We went through a big home remodel that was supposed to be 10-14 days and missed that mark by 6 months, complete with a bulldozer in the front yard for most of that time. We started becoming a laughing stock in the neighborhood, and when they finally came to take it away, a crowd formed and there was applause.
Anyway, even though I have a much better studio space now my energy level at the end of the day, after work, family and walking the dog, has not been there for a while. I’m really proud of some of the stuff I’ve done this year from a composition and production standpoint, but I know it’s hardly commercial as much of it is introspective guitar work. I just haven’t had the heart for much ukulele and have not whistled into a mic for a long long time.
I agree as well that it can sometimes be discouraging when some of your colleagues are so accomplished and versatile. Maybe discouraged is not the right word, but I’m still learning as I go and continue to be humbled by the talent that is appearing here daily.
I think Matt touched on a few things that I’m experiencing as well. The first couple of years of stock were a complete blast for me, and I had slim idea of what I was doing but didn’t care so much – it was just so much fun to be making music and getting paid for it! But lately I think it isn’t music that I’m burned out on, but the fact that it’s always stock music. I really do enjoy it – don’t get me wrong. However, I think that I may need to force myself to take a step back into other kinds of composition and recording, e.g. maybe in 2015 I should finally try to create an album complete with lyrics and get it up on Spotify et. al. I haven’t done this since I started back in the studio because it feels like opportunity cost, but maybe it’s a necessary step to taking production to another level, and just keeping my head in the game.
Anyway, interesting thread! It’s sometimes good to hear that you’re not the only one experiencing a lull
5-10 tracks per song for nearly my entire portfolio. Sometimes just one or two. But my stuff is very simple – not full orchestras or anything. 40 tracks and my poor old computer would just burst sadly into flames.
I think that I will just be giving it away now (yeah baby), I do like money but not taxation without (Cause I don’t vote) representation! lol This has been the best forum so far for me and I may decide to be a non-author soon. I’m just starting a reverbnation account with the same user name as here, in case you may need music for your porn-oh-oh-oh-lower-yeah-that’s-the-spot home movies! lol PS send me a copy or link! lol
Hey StoneColed, if you’re still around… the last I heard was that Envato was delaying the US tax reporting until they learned more about the ramifications, so to my understanding they’re not going to start Jan 1. So maybe stick around a little bit more…? I mean, you’re making a lot of people really sad, including James Van Der Beek apparently.
(Also, you’re supposed to pay taxes regardless of Envato reporting)
(Also, you should vote! Otherwise it just gets worse and worse.)
So, the author’s choice is,
1) use AdRev in the hope of capturing lost revenue due to people stealing their work while fully understanding that their legitimate customers are being sent take-down notices as if they were also stealing the work
2) not use AdRev because the loss of important, honest customers like koster is too great a price to pay for catching others who steal our workFor me, #2 is a super easy choice to make! None of my royalty-free music is registered with AdRev for this very reason! For me, it is never an option to inconvenience or worse, allow my customers to be accused of theft in order to solve my problem with pirates!
Choice #2 was an easy choice for me as well until I ran into multiple instances where other people had registered my songs with AdRev. Believe me, the process of unwinding this situation is far worse for both me and my customers than my just telling AdRev (or Audiam in my case) to clear the video, which has in my experience taken at most 24 hours, and usually far less.
As far as the use of AdRev its all we got at the moment track illegal usage and give protection or at least a little compensation which dare I say is actually deserved. If you saw the numbers you would be shocked to see how many stolen instances of my music there is, it snowballs. I got people/companies using watermarked versions, playing it in the background while recording their video, recording it with a cell phone and playing it back, it’s crazy.
No kidding! I currently am getting reports for only 3 songs I put up originally (it takes a few months for them to come in). It’s eye opening – 40 page PDFs with tiny, tiny print listing all the hits. As far as I can tell, abuse is widespread.
I’ve mentioned this in another thread, but I am tiptoeing into this – currently about 7% of my portfolio is registered with Audiam (about 1% until last month). I’m glad that video producers are taking the time to post their experiences, because we need to know what it’s like on the other side. And I agree, the experience for the video producer is not optimal – YouTube doesn’t use friendly language, quite threatening actually, noting that the risk of losing a dispute could result in the loss of your channel.
So what is an author to do? I believe that most of us will be using a service like this soon, and those who aren’t will have to deal with increasing cases where they’re filling out DMCAs to prevent other people from registering their songs (I’ve had to do this thrice now – after the third time I decided to start with Audiam). On the one hand it’s becoming more and more necessary to protect one’s intellectual property, but on the other, you end up with upset clients with, I agree, a legitimate complaint – but only insofar as either the direct client or their clients don’t understand what is happening, why authors are using AdRev, or how to resolve it.
I believe as mentioned by others is that the answer is not to abstain from AdRev et. al., but to provide (and urge Envato and other marketplaces to provide) much better communication around the process. I also feel that YouTube needs to use more user friendly language around the dispute process, and also the ability to attach a license or something to preempt the situation entirely.
Based on my albeit limited experience recording and producing: it’s possible to make a good recording with a crappy mic, crappy preamp, crappy interface and even in a crappy room, as long as the musicians and the material are good. But IMO it’s not possible to make a good mix on crappy monitors and headphones. If I had to do it all over again, I would have spent a lot more resources on the output chain first before investing on the front end.
That said, I don’t think it hurts to use the end user experience (iPod phones or whatever) as a reference.
I don’t generally make Christmas tracks, because I am lazy and too disorganized. Generally it gets to the last part of December and I think to myself, “Huh – I probably should have uploaded some Christmas tracks. Oh well – I’ll totally do it next year.”
I have done a couple for other profiles without much success (I think one sale per song). One of my hangups is that people know what a famous Christmas song is supposed to sound like, so (for myself at least) I take way too long trying to get it right, and end up missing the mark anyway.
Also, it kind of doesn’t feel right to upload a song I didn’t write. There’s absolutely nothing wrong with it if the song is in the public domain and you’re not copying someone else’s style – but just for me personally it’s not as satisfying.
My sales do drop during the holiday season (mid December through January, really) – whether uploading Christmas tunes would help or not I don’t know.