Pump Audio Vs. Rumblefish

Ok, that makes sense now! Because in the PumpAudio contract it is written:

“If there are samples for which you HAVE received permission, you will need to have all of the copyright owners sign this License Agreement in order for your music to be eligible for Pump Audio’s catalog.”

They meant sampling someone else’s music and not sample libraries :)

Your feedback was greatly appreciated mate, thanks again!

kz
 
I was just checking out Pump Audio and the songs seem to be 1:30 or less, a lot being around 30 seconds. Do you take your songs and reduce the length, or do you just make really short songs?
 
Logistical Styles said:
Just keep sending in music and that increases your chances of bigger checks. Also make sure you are properly tagging your music in the database so clients can find your music.[/n QUOTE]

Whatsup man, When you say "tag" do you mean a vocal tag? Like "Trill Trax productions" in it? Also I've been seeing them pop up every now & again through here & my own research. Would you have a say on WHAT they actually want? Was the material you sent & got placed something you said "yea this is great for film?" or was it this is a hip-hop beat, R&B, Pop, etc....
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No, I mean meta tags. It's data in the song file that can be used to identify the composer, genre, and stuff like that. I usually use iTunes to make sure that all of that info is filled out. When your song is in your library, right click on it and go to Get Info. There you can enter the composer, the genre, the artist, the album, the artwork, and other stuff. Save it and when you distribute copies of that song file all of that info will follow. This is what companies like Sound exchange use to credit you for royalties. When you don't do that they can't find out who to credit.

DON'T put tags/drops in the audio of your tracks, music licensing companies can't use that.
And, You don't get any say in the usage of your music once it's in the catalog. You won't find out who used your tracks until you get a royalty statement from them at the end of the quarter.

---------- Post added at 08:37 PM ---------- Previous post was at 08:35 PM ----------

read this article on Meta Data and it's importance.

THE COST OF BAD DATA | Billboard.biz
 
Both is good from my experience... Pump audio takes a lot longer though (to get tracks in the data base)
 
pump audio isn't getting you extra money. they are taking money from you. you and only you are responsible for registering your music with a PRO i.e. ascap or bmi. When they register for you what they are doing is retitle publishing. they give your tracks new names and then register them with the PRO'S. now they have their hand in your publishing. that's foul. :cry::cry::cry:
 
Now i allways had a couple of questions about this i hope you guys having more experience in this type of niche...here are my questions

1) Do you submit your beats Mastered? 32 or still 16 bit?

2) Do you go as a buisness with a buisness account tax id or just your ssn?
 
ugnaught said:
pump audio isn't getting you extra money. they are taking money from you. you and only you are responsible for registering your music with a PRO i.e. ascap or bmi. When they register for you what they are doing is retitle publishing. they give your tracks new names and then register them with the PRO'S. now they have their hand in your publishing. that's foul. :cry::cry::cry:
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Most music libraries take a share or all of the publisher's share. The writer still gets the writer's share.

The publisher's royalties add up to 50%, and the songwriter's royalties add up to 50%.
 
Logistical Styles said:
Rumblefish is good, but Pump Audio is great. Rumblefish has licensed more music for me, and they have gotten my music licensed on some bigger projects like video games, cable TV shows, etc. Pump Audio has placed songs for me on cable TV shows and the like. The big difference is how they handle the license. Pump Audio reports my placements to BMI and ASCAP, so you get additional money from BMI or ASCAP. I asked Rumblefish why they don't do that and I can never get a straight answer. In order for BMI to pay you for music used on TV, they need to have Cue sheets. Without the Cue sheets they can't do anything for you. I asked Rumblefish for the Cue sheets, and they told me that once the license is sold it's out of thier hands. Now it's up to me to find the company that bought the license and try to track down a Cue sheet. Rumblefish and Pump Audio both have thier good points, but I think Pump Audio is more thorough.
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What you might want to do is signup with Tunesat.com! They are excellent when it comes to tracking all of your licensed music, whether played on TV or internet, and for the upgrade they will even go back four years to track all of your audio that has been aired! Then they submit the "cues" to your PRO. Mind you, this is a free startup service, (which means you can upload to up to 50 tracks for free and get the cues based upon the date you joined, or you could go Premium and place unlimited tracks and they will go retro to retrieve your cues!! I think it is an excellent choice!! They track your music through the "fingerprinting" technology!!
 
Rumblefish has always reported to the PROs. I'm a BMI composer and I get royalties from all of my Rumblefish placements. I've been seeing royalties from Rumblefish placements for the past 7 years. They even have a good deal with Youtube where they supply music for videos that people post and I see a decent amount from that alone. I can now finally vouch for Jinglepunks. They got my music licensed on a Real House Wives of Atlanta episode and I got paid off of 20 seconds of audio. That episode got over 5.5 million views my BMI statement looked pretty nice for that quarter.
I'll definitely look into Tunesat.com. I want to get music into as many libraries as possible.
 
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