Thans for your advices and answer ! I get another answer from a composer who know perfectly well BMI and he explained me the whole. In my case, it can take really lot of year but the most important with BMI is the first report. And that’s totally normal that they start with USA first, as they did. Once it done, they will really start to collect all info as possible, so I just need to be more patient. It’s just a little beginning, which is supposed to grow regarding how things are spreading on the long run with my music !
In any case, congrats for your amazing adventure and sharing with your PRO
Hi, in my case, BMI also sent me the first report only from the USA.
did you register all your tracks with Soundmouse, create a template with your preferences or wait until support notifies you of a match of tracks?
Hi Graham, I registered all of my music with Soundmouse, using templates as soon as I joined the PRS. My wife works as a promo producer for the history channel and they use Soundmouse to report all of their music usage to PROs, so I knew it was an important step in the process.
There’s so much admin involved, but it’s worth it I think.
Thank you for your reply!
Phew - more admin to do!
Soundmouse only concerns the United Kingdom? I’m French, my PRO is SACEM but is it worth registering on Soundmouse?
Have you received any reports from Soundmouse? A friend of mine has been with them for years (and he’s got a TON of popular tracks in circulation) and he has received nothing from them.
You don’t get reports from Soundmouse. It’s kind of a blind “hope for the best” system. If they find a match they just help with the cue sheet. You get the money but you don’t actually know if Soundmouse helped out or not.
Soundmouse also works with US PROs, BMI and ASCAP. I’m not sure about SACEM though. You could email them email@example.com and ask.
Hi, Soundmouse doesn’t report to the artist directly. They report detections to your PRO who use the data to work out your distributions.
My latest PRO payment (which was for TV around the world) was bigger than usual, and Australia was the biggest country both this time and last time (June).
This is new for me, and since Soundmouse thoroughly scan Australia, Germany and the UK, I’m going to GUESS that they helped out with this one, although I can’t be 100% certain.
I registered lots of tracks in August last year, so it seems reasonable that some results would start to come in now.
5 days without sales. This is the worst month this year.
3 sales this month. WME (Worst month ever), of course, but I’m very optimistic though and I’m sure sales will pick up sky high soon! Super excited with the recent free file nomination announcement and the site’s layout is looking Altavista sharp!
Just one sale this month so one more to sum to the WME list. Cool you mentioned Altavista layout sharp web page looking It’s been a long time in the internet.
I don’t know if the jungle is heading to the end or not but for sure it keeps us trapped in this itchy and scratchy thing
Man, i just browsed you portfolio. 1 niche tracks in September, one in June and one in May (correct me if i am wrong). With such release schedule you almost invisible on market. Why to complain?
And how many non-sellers have you uploaded lately? How is this diluting and cluttering strategy working for you?
Pointing out @WormwoodMusic’s release schedule as the reason for his low sales is completely out of touch with reality and uncalled for.
The whole platform is failing and everybody can see that, just have a look at your own sales.
You probably do not understand what i am talking about. This not about cluttering portfolio this is about :1. Trending sound. 2. Seasonal shift in produced content 3. Searching for what is interesting for buyers. 4. Constant presence on market.
It’s always hit and miss. You can never expect what will perform and what not. Overall trend is of course not as good as before, because customers focus shifted to Elements and there is a lot of awful examples of companies using Elements music for TV and broadcast. Partially lost of sales and stealing of music compensated by Content ID.
P.S. 17 sales this week, including broadcast license, most of them was not my top seller. But awwful July and August
Yes, this is true, but how much?
Let’s look at some numbers.
In August, StockSounds (still #1 music seller) sold 337 licenses. They used to sell 1,000+ (even close to or over 2,000 sometimes I think).
PinkZebra is still hanging in there with 144 sales, compared to 1,000+ before.
I earn about 25-30% of the best years around 2018-2020.
I think that could be a pretty good guess:
The market sales are around 20-25% of what they were a couple of years ago. So a pretty substantial drop.
I think it’s similar on Pond5 overall, and most of the other single-license marketplaces.
To put things into perspective, my August PRO payment was around DOUBLE my best YEAR ever here at AudioJungle.
My AVERAGE monthly Content ID payment this last year is more than all of 2023 at AudioJungle.