You Tube Sync Licensing (part 2)

                Last week we discussed the basic idea of what sync licensing is and how it can be used through YouTube to earn money for songwriters.  Remember, if you are creating your own YouTube  videos, you can monetize them without having your songs entered into the YouTube Content Id system.  However, if you want to collect from monetizing other people’s videos that contain your songs, you have to be registered in the Content Id system. 

                Many musicians do not have the time to bother with these types of registrations and license monitoring.  They would rather have someone else do this for them while they write, record and perform music.  For these types of musicians, there are many options out there.  As I mentioned last week, people who are already selling their music on Tunecore or CD Baby can also use these companies to handle their YouTube sync licensing.  Each company’s website explains their pricing, options and policies for music sales (which are outside the realm of this topic), so I will let you research that on your own if you are trying to decide.  If you are already with one of these companies (or another that provides sync licensing services) then it would probably be best to seek the services of the company you are with.   

                I happen to sell my music through CD Baby, so I will share my personal insight about their sync licensing service with you.  Here is a screen-shot of their FAQ page that explains the three options you have with sync licensing as a CD Baby artists. 

It clearly states that you can either allow them to collect all the licensing for you, have them “whitelist” your YouTube channel (so that you monetize those videos on your own) or opt-out of their YouTube monetization program.  Notice how it says “Keep things simple and let us…” in the 1^st option.  This is because they want you to let them monetize all YouTube videos containing your songs (including your own YouTube videos). 

Why is that?  Well, their FAQ page on the sync licensing states that they keep 30% of all revenue generated (and you get 70%).  This is the going rate for YouTube sync licensing as seen in the statement highlighted by the red box in the figure below.  For all other sync licensing (other than YouTube), they collect 40% (stated above the red box), but that is a discussion for another blog post. 

Other people may or may not use your songs on their YouTube videos, but you will most defiantly use them if you have a YouTube account.  Do you think CD Baby wants to only collect 30% of the ad revenue on other people’s videos using your music, or on all videos using your music (including your videos)?  That is why they push for this option.

          Some may think my use of the word “push” here is too extreme.  Let me share my latest experience and allow you to decide.  I contacted CD Baby about “whitelisting” two more of my YouTube channels on March 18^th.  First I called, and was told that I had to email them with an official request containing links of the channels I wanted to “whitelist.”  Below is the email that I sent, along with their response and my response back.

As you can see, the response took 2 days, and it did not answer my request.  This agent tried to tell me that my only option was to let them collect for me or opt out.  In my response back, I quoted their “whitelist” FAQ page (shown earlier) and the fact that it clearly lists three options.  I never received a response to this email. 

I also called to try to work things out.  The agent I spoke to apologized for the email I received.  However, he explained that although the “whitelist” option does exist, CD Baby only offers that option sparingly.  When I asked him to explain why it isn’t worded that way on their website, he changed his story and said that it is an option and they will process my request.  However, he could not give me a timeline on how long it would take to “whitelist” my channels.  Since they provide this service through a company called Rumblefish, he would have to put in a request to contact Rumblefish.  After the correct CD Baby department receives and processes the request, Rumblefish would have to receive and process a request from them.  I still have not heard back from them on the resolution of this.  In the meantime, I filed a dispute through YouTube on the copyright claim that CD Baby had against one of my videos (yes, they were blocking me from monetizing my own video while I was waiting for them to whitelist my channel).  The dispute was settled in my favor and the monetization block on the video was lifted.    

If you don’t want to go through all of this, there are two other options.  Audiam is a company I mentioned last week that also offers sync licensing.  They only retain a fee of 25% on the revenue generated by other people’s videos.  They are very good about “whitelisting” your YouTube accounts, and do not try to collect anything from those videos.  However, some of the other aspects of their agreement are a little more complicated.  For example, you cannot opt-out at any time.  The agreement you enter into with  Audiam is a 1 year term that automatically renews.  If you want to opt-out, you must contact them within the last 60 days of your term.  Also, they have a minimum earnings requirement of $5 before you are paid, and payments are released within 45 days after the end of the calendar month.

The other option is to fill out a YouTube Content Id application yourself at this web address (https://www.youtube.com/content_id_signup).  Below is a screen-shot of the application page.

In order to apply for this, you must won or control the exclusive online streaming rights for the content you submit.  If YouTube accepts your application, then you will be able to directly collect monetization revenue on all videos using your songs (including other people’s videos).  If you are ambitious and have the time to complete this process, it may be a beneficial option.  

You Tube Sync Licensing

The existence of You Tube has created a new way for songwriters to earn money from their music.  Whenever a You Tube video is created that contains one of your songs somewhere in the audio content, you have the right to monetize the video and collect a portion of the advertisement revenue created.  This is true for videos that you create on your You Tube channels and videos that other people create on their You Tube channels which include your music.

For videos that you are creating on your You Tube channel, the process is fairly straight forward.  You just need to set up your You Tube channel to be able to monetize your videos.  There are several features that can be unlocked in the Status and Features page under the Channel heading of your You Tube channel (Dashboard – Video Manager – Community – Channel – Analytics – Create).  If you are a member in good standing, these features become available after different criteria are met (vary depending on desired feature).  You must also open a Goggle Analytics account and connect it to you You Tube channel (fairly straightforward).  Once everything is set you will be able to monetize any of the videos you create for your You Tube channel.  This means you aren’t really getting any advantage out of including your original music because you already get to monetize the video (since it is your video and contains no 3^rd party content).    You Tube does report royalty information to artist royalty associations like ASCAP and BMI, but only after the video containing your song has had a significant number of views.

The advantage comes from having your songs appear on other peoples videos.  Even though the video was created and uploaded by someone else, the fact that it contains your copywritten song prevents this other person from being able to collect advertisement revenue.  It also gives you the power to have the video taken down, have the song removed or monetize the video yourself.  This third option allows you to collect advertisement revenue on another person’s video since it contains your song.  In order to do this, your songs must be registered in the You Tube Content Id system.  This is a software system that searches all of the content on You Tube for matches to your software.  Companies like Tune Core and CD Baby have the ability to provide this service for you.  They register all of your songs into You Tube’s Content Id system through their registration license.  You Tube pays the ad revenue to them.  They keep a percentage (for their services) and give the rest to you.  Another company that provides this service is Audiam.  This company provides only sync licensing whereas the other companies primary service is providing a way to sell your music. 

I don’t have any experience with Tune Core, so I cannot speak about the quality of their sync licensing service.  I have had some experience with Audiam and even more experience with CD Baby.  Next week I will discuss more details about sync licensing through these companies.  I will also discuss the possibility of handling your own sync licensing independent of these companies.   

The Upside of Life

                It seems like the ups and downs of life are connected in some way.  I've noticed that when I am less disciplined with my diet and exercise I also become less disciplined in my practice and recording routine.  I get into this lazy slump that affects everything else.  I don't feel motivated to do anything. 

                Then, I push myself to eat better and exercise.  Those first few days are an adjustment, but eventually my whole mood changes.  I have more energy, and I feel motivated to accomplish things.  I enjoy practicing, reading, recording and accomplishing things. 

               So, what causes me to lose that pep in my step and go back into the lazy slump?  How can I stay on track and stay motivated.  Everyone is searching for the answers to those questions. 

               For me, the answer seems to be keeping diligent in my personal devotion time with God.  When I allow that time to suffer, I find that the other areas of my life are more susceptible to the downward cycle.  When I diligently pursue private time with God, motivation and self-discipline become more accessible.  You'd think that I would remember this point and never allow my private time to suffer.  Unfortunately, I'm human and very forgetful. 

               That's why I need the support of friends and family who are like-minded.  My wife and I have been meeting once a week with another couple over the last six months, and it has revolutionized our Christian walk.  We worship, pray and study the Word together.  We call each other through the week and support each other through the hard times.  I haven't felt this alive in quite some time.  Thank you God for the joy of knowing You, and for the friends that you have blessed me with.         

Feeling the Beat

                The number one thing that is missing in most  student musical performances is an internalized beat.  Most students focus primarily on accuracy of pitch.  Whatever attention they can spare goes toward reading and performing rhythm correctly.  However, their version of rhythm differs from a professional musician's in one very important way.  They don't feel the beat.

                The first step is to be aware of the beat.  Many students do not keep track of the beat while playing.  They play from note to note without a sense of a steady pulse.  Longer rhythms are approximated, and the overall performance fluctuates in tempo.

                However, awareness of the beat is not enough.  True music is created when a musician learns to internalize the beat.  Mere application of a steady beat can feel robotic and lifeless.  When the performer's attention is focused on following a metronome (or tapping foot), the other aspects of the performance suffer.

                When we reach a place of feeling the beat pulse through our body on a subconscious (automatic) level, we become free to truly perform the music.  This subconscious pulse acts as an engine that drives the pitch and rhythm through its natural course.  However, our mind is free to express every feeling and emotion that is connected to the performance. 

                Even many adults have difficulty expressing themselves in a recording studio while trying to play to a click.  They become accustom to performing with a loose sense of beat, and become restricted when asked to keep a steady beat.  Of course, an organic performance may pull or push on the beat at times, but is always returns to the natural pulse by the beginning and end of phrases.  When this can effortlessly be achieved, we have reached the level of truly feeling the beat.