My Latest Sync Placements Reveal Some Interesting Truths

Today I'm diving into my latest SOCAN statement. I’ll break down my recent statement and share some insights into a new strategy I've been trying. I’ve seen some interesting results so far, and it's making me rethink my approach to sync music. Tune in to see how this could shape my future! 🎵
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[@Steven_Beddall]

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[@AlexBtvmusic]

Hey Steve! Good to hear that your sync placements are gradually growing. Music licensing, in general, is a hard game to play, but you're the man for it. Keep at man. Cheers!

[@TonyThomas10000]

Glad to hear that you are still doing well in music licensing and sync! I have pretty much given up on that market. Not a good fit for what I do.

[@arturaravidi]

Steven we need a tips how to make music any tricks and other ❤ thank for your content 🙏🏻

[@WillyJunior]

Hey Steve, just something to note - any music that finds its way onto TV/TV ads will be properly tracked by the company Sounds Like Publishing who deal with royalty collection for Artlist, so everything should eventually be paid, cue sheet or not. If I remember correctly, Sounds Like Publishing will ensure cue sheets are correctly filed and money is collected.

[@Steven_Beddall]

That's good to know! Thanks for watching 🙏

[@NickKeller]

Thanks for the insight. Been a composer for years, and you popped up on my feed. the big royalty money is still in traditional network syncs and plays. Why? it’s because the system hasn’t been changed to favor streaming. I also suspect the composer of a CSI or other network show to make much more off the backend than someone with a midtier Netflix show. I’m sure it was flip someday, but I don’t believer it’s the case yet. Thanks for providing the community with your info and transparency.

[@Steven_Beddall]

Oh yes absolutely, streaming placements are worth a fraction of cable network placements, and they are harder to come by these days as streaming becomes more popular

[@lX-NDR]

Great! Love the music on your spotify. Cant wait to hear the tracks you make in cubase

[@Steven_Beddall]

Thanks so much 🙏

[@mikemoscomusic]

Hey Steve. Always an eye opener seeing things like this, but more importantly, wanted to say a massive ‘thank you’ for sharing this info, buddy! Really grateful for that… 👍🏼😊🙏🏼🍻 All the best as always, Mike.

[@Steven_Beddall]

Thanks for watching Mike!

[@audiomixexpert3175]

Some great insights here Stevie! Thanks for sharing as it provides great motivation for us. Really like the new room setup too. 👍

[@Steven_Beddall]

Thanks James! Glad you like the new setup, cheers! 😊

[@cycling_mansij]

Congratulations Steven! Those placements are amazing! Hope you are doing well :)

[@Steven_Beddall]

Hey Mansij, appreciate it man!

[@bjornark]

Grats! Awesome that things are working out for you.

[@Steven_Beddall]

Thanks Bjornar!

[@frodo3556]

Thanks for sharing, Stevie, definitely motivational for me! Also I love the new setup. Kinda gives the vibes of a cooking show for musicians 😂🧑‍🍳 What would you say is the average timespan from tracking a placement on Tunesat to receiving the royalties through your PRO? Also, have you experienced a longer processing time for international placements? In May 2023 I've started getting some recurring placements show up on Tunesat, although I didn't see any royalties from it yet. The songs were placed through my UK based library on German TV, while I am signed with BMI in the US, so I guess it is normal for the whole process taking some time. Although if the next royalty statement will still be empty I might start to worry 😬

[@Steven_Beddall]

Hey Frodo! Haha thanks man, love the cooking show vibes! 🤣 I think every PRO differs in terms of turnaround times, but I can say for sure that Tunesat tracked my placements well ahead of when they started showing up on my statements. I'm not sure if it's longer for international placements. Quite possibly.

[@royaltyfreemusiccollective8662]

9-12 months domestic....18-24 months international

[@mysterybro100]

...I would encourage you to check with your PRO (i.e. SOCAN) on the terms of splitting off your "writers" share! Thx for your vids....

[@brettclarinmusic]

Congrats! I see 42%, so you did not go 50/50 on the writer's share (not talking publishing)? It seems like you gave up about 15% of your writer's share. Which would be fair for the 'in' at an influential library. I am in a 50% of writer's share deal, which I signed early on, and regret it, even if it was a strong library with good placements. I don't suggest anyone sign away 50% of their writer's. Thanks for all your vids!

[@Steven_Beddall]

Hey thanks for the comment. Yeah it's not a 50% stake in the writer's which I'm grateful for, so I do get to hold onto a decent chunk.

[@ErikVargasMusic]

im pretty sure i know which lib you're talking about...and yes i regret it too, i have moved on though