Shockwave-Sound Blog and Articles

GoDigital Media Group music ownership claims

Last fall around October/November, we here at Shockwave-Sound.com started to receive emails from worried customers who had licensed music from our site, used the music in YouTube videos, and received notifications from YouTube stating that the music “contains music owned by GoDigital Media Group”.

We were unprepared for this and very much puzzled, because this was music actually owned by our own company, Lynne Publishing, and some of it composed by Shockwave-Sound.com manager Bjorn Lynne, personally.

After a bit to and from, it turned out that this situation was set in motion by a stock music distributor called Audiosparx having set up a “Ad Sharing Program”, in which composers were supposed to receive micro payments from YouTube after YouTube had put advertising on vidoes that contained this music, and that this program by default included all music that was listed at AudioSparx.

Audiosparx has submitted 15,000 music tracks to GoDigital and GoDigital are using “fingerprinting” recognition on music playing on YouTube. When a match is found, YouTube sends out a notice to the video uploader claiming that the video contains music “owned by GoDigital” (although the wording has lately been tweaked to “owned or licensed by..”). YouTube puts advertisements on the video, and pays money to GoDigital Media Group — all of which is happening without the permissions of the composers or publishers who actually own the music.

AudioSparx, to their credit, when they found out the kind of serious problem this setup was causing, they pulled the plug on the whole program, apologized, and withdrew from the deal with GoDigital. This happened in early January, but, unfortunately, as of February 12, the problem has not been solved. GoDigital are currently monetizing royalty-free music without permission from the composers or publishers. Apparently there is some technical problem with getting the music removed from their databases, and this has been their line since January.

We here at Shockwave-Sound.com would like to apologize to any customer who has legally licensed music from us, only to receive disturbing copyright dispute emails from YouTube. Let me assure you that all music licensed through Shockwave-Sound.com is 100% legally licensed to you and that GoDigital Media Group have no genuine rights to claim any ownership over the music.

On a personal note, I have to say that it’s disturbing for me to actually compose and produce a piece of music myself, play all the instruments myself, mix and record everything, publish the music through my own company…. only to be told that some company I had never even heard of is claiming ownership over the music and making money on it — and at the same time sending disturbing copyright messages to my customers who licensed the music from my own site. And all the while, without a penny coming my way.

We will keep asking GoDigital Media Group to stay off our music, and we hope that the problem will clear up very soon. We apologize for any inconvenience or confusion caused to our customers.

Getting discounts on royalty-free music

Here at Shockwave-Sound.com we regularly get asked this question: “Do you offer bulk discounts or educational discounts on your royalty-free music?” — or variations on that subject. So I thought I’d post our answer to this here in the blog.Bulk discounts on ready-made collections:

If you buy 5 or more ready-made collections, this would be a bulk order and we offer the following discounts:

 

Number of collections
with Standard License:
with Extended License
* Any 5 collections:
US$ 439.00
US$ 999.00
* Any 10 collections:
US$ 799.00
US$ 1999.00
* Any 15 collections:
US$ 1049.00
US$ 2499.00
* Any 20 collections:
US$ 1299.00
US$ 2999.00
* More than 20 collections:
contact us
contact us

These collections are normally either $99/$129 each with Standard License, or $249/325 each with Extended License. Each collection typically contains 10-15 tracks, plus all the different edits/versions/cuts of every track, to give you options in editing (such as 60-secs version, 30-secs version, Loops, Stingers etc.) You can see a complete list of our ready-made collections here: https://www.shockwave-sound.com/stock-music-collections

The collections can be delivered to you as physical CDROM/DVDROM’s, on an external USB hard drive or a USB memory stick – whichever you prefer.

Should you be interested in taking us up on either of these offers, please get in touch with us. These “bulk orders” of 10-15-20 or more ready-made collections are not available to buy through the shopping cart on the site. You’ll have to talk with, us or email with us, to discuss your selections and arrange payment.

Cue-Sheets, TV broadcast and public performance

If you are not already familiar with cue-sheets and public performance rules, we recommend you take few minutes to read this page, because it’s an issue that’s worth understanding for anybody involved in media production.

 

What is a cue-sheet?

A cue-sheet is basically a single-page document with information about music tracks used in a TV or Film production. The purpose of the cue-sheet is to ensure that a small part of the annual license fees paid to Performance Rights Organizations are distributed to the correct composer and publisher of the music used.

Please note that it does not cost you, or the broadcaster, any additional money to file a cue-sheet. The payment that is made to the composer and publisher is taken from annual blanket licenses paid by the broadcasting companies to performance rights organizations. These annual license fees are the same whether cue-sheets are filed or not. The cue-sheet only ensures correct distribution of these annual fees to the actual composers and publishers who created the music used in the broadcasts.

Music composers and publishers depend on these payments from performance rights organizations, to be able to make a living on their music. It is important to correctly file a cue-sheet whenever music is broadcast. Not only is it the right thing to do, it is also a legal requirement.

Where can I find a sample cue-sheet?

A generic cue-sheet can be downloaded right here:

 

You can also click here to download a .zip file with the cue-sheet inside)

In the USA, cue-sheets with our our music are represented by ASCAP. A blank ASCAP cue-sheet can be downloaded from this page: http://www.ascap.com/Home/Music-Career/articles-advice/cue-sheets.aspx

 

Where do I find the information needed to fill in the cue-sheet?

When you place an order on our site, an Invoice and Music License document is automatically created for you. This document is available to download from the same page from which you download the music. Just look underneath the music download link(s), and you’ll see a link to “click here to download your official Invoice and Music License”. In this document, page 1 is the Invoice part, and the rest of the document is the Music License, where you’ll find all relevant information. The information you need for the cue-sheet looks something like this:

Track title: 1000 Miles
Composer: Dan Gautreau (PRS)
Publisher: Lynne Publishing (PRS)

If you’re having problems finding the information you need for your cue-sheet, feel free to call us or email us, and we will be happy to help.

What should I do with the cue-sheet?

• Please save and print a copy of the filled-in cue-sheet.
• When you send your production to a broadcasting company, always make sure a copy of the cue-sheet is included along with the film.
• Send a copy of the cue-sheet to us at: info@shockwave-sound.com .

What about YouTube and Google Video?

Like other broadcasters, YouTube and Google Video pay annual fees to performance rights organizations. When you upload your video to YouTube or Google Video and enter information about your video to these sites, you should make sure that you include good information about the music used in your video. Please include music track title, composer and publisher info. This will enable the composer and publisher to receive a micro payment from their performance rights organization, again, taken from the annual license that YouTube and Google Video pay to these organizations. Again, this does not cost you, nor them, any additional money.

But is it, or isn’t it, “Royalty-Free”?

It may seem odd that “royalty free music” still generates performance royalties to the composer and publisher, when the music is broadcast. But this is how it works, and you’ll find the same thing no matter where you should purchase royalty free music. The broadcasters always pay an annual fee for their right to broadcast music. This annual fee is the same, regardless of whether they play music by composers who are registered with a performance rights organization, or by composers who aren’t.

So why call it “royalty-free music”? Well, in regular “not royalty-free” music, you would have to pay us a royalty for each time you used the music, or for each month/year you had access to it. Our music is as royalty-free as any music can ever get. There is no getting around the broadcasters’ annual fee to performance royalties organizations.

Performance royalties don’t really have anything to do with Shockwave-Sound.Com as such. Performance royalties aren’t paid to Shockwave-Sound. They are paid from the broadcaster, via the performance royalties collection agency as an annual fee, and then divided among composers. It has nothing to do with Shockwave-Sound, other than us providing you with information about the composers and publishers of the music you purchase.

Unfortunately, every year a huge amount of music is being broadcast where no cue-sheet for that music existed. This doesn’t mean that the broadcaster’s annual fee is reduced in any way. They still pay the same amount. But when no cue-sheet is filed, the money goes into a “surplus pool” which, at the end of the year, is divided on a percentage scale between already high-earning pop artists — those who already make the highest amounts of performance royalties. So the broadcast may have contained music by one of our composers, but the money that should rightfully have been paid to him, has instead gone to pop artists like Phil Collins and Britney Spears. And that’s just not right. This is why we insist on cue-sheets being correctly filed when music by our composers are used in a broadcast.

Performance Rights Organizations across the world:

Here is a list of Performance Rights societies in various countries; they will be happy to help you if you have further questions about Performance Royalties and cue-sheets. We hope this article has been helpful.

Argentina SADAIC
Australia APRA
Austria AKM
Belgium SABAM
Brazil UBC, ECAD
Bulgaria Musicautor
Canada SOCAN
Chile SCD
Colombia SAYCO
Croatia HDS
Czech Republic OSA
Denmark KODA
England (See United Kingdom)
Finland TEOSTO
France SACEM
Germany GEMA
Greece AEPI
Hong Kong CASH
Hungary Artisjus
Iceland STEF
India IPRS
Ireland IMRO
Israel ACUM
Italy SIAE
Japan JASRAC
Lithuania LATGA-A
Malaysia MACP
Mexico SACM
Netherlands BUMA
New Zealand APRA
Norway TONO
Poland ZAIKS
Portugal SPA
Russia RAO
Singapore COMPASS
South Africa SAMRO
Spain SGAE
Sweden STIM
Switzerland SUISA
Trinidad & Tobago COTT
Turkey MESAM
United Kingdom PRS For Music
Uruguay AGADU
USA ASCAP , BMI , SESAC