Get Started Collecting Your YouTube Royalties for Free and With a 100/0 Split for 90 days!
YouTube Royalty collection through SourceAudio only ever costs you a small fraction of what you earn, and for the first 90 days, you keep 100%!
How to get started:
Get up and running in just a few clicks! Unlike some other royalty collection services, we’ve streamlined enrollment to its most essential elements.
Upload all your tracks to your SourceAudio library site. This is the one and only place you will need to upload your tracks since all SourceAudio’s passive revenue generation programs draw from your centralized track library. One upload and you’re all set!
Once your tracks are online, head to your admin panel by clicking the wrench & screwdriver icon in the top right » click YOUTUBE CONTENT ID in the bottom left » and then click PREVIEW AND APPLY. That’s it! Your application will be reviewed by our YouTube department, and you should be approved promptly.
If you don’t have a SourceAudio library site yet, email us at support@sourceaudio.com, and we’ll help get you set up.
Selecting Which Tracks and Which Royalties You Will Be Collecting
Our YouTube ingestion tools put you in total control of the rights you are claiming, both during the enrollment process, as well as for ongoing additions to your catalog.
The YouTube Content ID Settings tab contains all your track ingestion tools, starting with the Ingestion Default, the site-wide default: “Ingest” or “Do Not Ingest.” Then just below that, you can set whether or not you control the publishing (or just the master) for tracks ingested by default and what territory you’ll be collecting for. Note, territory is not determined by the country of the YouTube video uploader; it refers to the country of any viewer of the video, i.e. where the royalty itself is generated.
The next group of settings down the page allows you to create conditional rules to act as exceptions for the default above. For instance, if you have a specific artist whose YouTube royalties you don’t collect, you can create a conditional rule here not to ingest any of those tracks into YouTube Content ID.
Finally, at the bottom of the page are the most granular settings. Here you can use a CSV import to set which tracks you want to collect for and the specific rights and territories for each track.
Looking for Even More Reasons Why SourceAudio’s YouTube Content ID Program is the Best on the Market?
⟩ Take a complete tour of the YouTube Content ID interface
⟩ Reliably ensure your clients never receive unwanted claims
⟩ Leverage advanced features including API integration and activity exports
⟩ See what our clients have to say in their own words
Collect your YouTube Royalties with the best tools and the most profitable split on the market—try it for 90 days at a 100-0 split!
Looking for help getting started? To speak with an expert, email jarrett@sourceaudio.com.
Programmed Drums – MIDI vs Audio
When you’re programming your drums (or percussive SFX) into your session, there is a choice to be made: whether to store that information in a MIDI track or an audio track. Each option has its own unique advantage, so read on for a comprehensive assessment of these two options.
MIDI
In a software-driven world, MIDI might seem like the obvious choice—and for good reason given the multitude of utilities available when working with MIDI drum tracks.
The MIDI track’s piano roll makes deleting parts, changing the instrument of a given part, or doubling parts a sinch, and the timing of these MIDI sequences goes even deeper than what's visible on the piano roll. When using MIDI drums, you can swing your tracks on a granular level. Add a little bit or a lot just by pushing a slider, something that would never be possible on an audio track.
LFOs application is another area where MIDI shines. The innumerable applications of oscillators to bring life to your drums ends up giving the starkly computational MIDI track the option to be exactly as human-sounding as you want.
But what about side-chaining? MIDI tracks have that too, as well as transposition. While not as obvious as the transposition knob seen on any audio clip’s utility panel, transposition of a MIDI track would be accomplished using automation.
Another handy MIDI feature is MIDI overdub which allows you to cycle through your track playing part of the drum loop, and then adding on additional hits as the looped section replays with recording still enabled. The obvious workaround for audio track enthusiasts would be to use multiple tracks, but MIDI overdub certainly simplifies this. Need to separate out certain instruments in your MIDI drum track? Select that part in the piano roll » right click » extract chain.
Audio
How could audio possibly compete with the ever-expanding feature set that MIDI tracks offer?
It doesn’t try to.
Audio tracks provide tools that are simpler, more accessible, and thus more practical for many compositions.
For instance, essential features like the fades at the beginning and end of the track clips are right three on the track lane—a far more convenient place than buried in the MIDI functionality. These sorts of little wins add up and make the simplicity of audio tracks very appealing, especially for sessions with tons of tracks.
In addition to being overly complex for the already overworked recording engineer, MIDI may also end up pushing your computer too hard. One technical variable where audio trumps MIDI is the amount CPU processing it uses. If it means the difference between a frequently crashing session or not, opting for audio could be the clear choice.
Both MIDI and audio tracks have their rightful place in the producer's arsenal. Enjoy using both!
SourceAudio’s Interested Parties Tools Make Managing Your Writer and Publisher Data Easy
SourceAudio’s robust Interested Parties system allows you to organize your writers and publishers with detail and ease!
What are Interested Parties on SourceAudio?
Collectively known as Interested Parties, our fields for listing publishers and writers (including arrangers and adaptors) employ unique metadata functionalities to optimize their use.
Each writer or publisher listed on a track has its own set of metadata fields on that track. For example, each writer on a track has all the following fields available to store all of their relevant information on that track.
Why Interested Parties?
In addition to being the most efficient and best-looking way to store your writer and publisher data, SourceAudio’s Interested Party data formatting carries the following benefits:
1. It’s designed to match the PROs formatting and help make the PRO registration and reporting process as seamless as possible.
2. Its data can be leveraged to generate cue sheets with all the fields where they need to be so the right people get paid.
3. Broadcasters require the data to be in this format.
Centralized Interested Party Listings for Streamlined Management
All the interested parties on your site are listed in your admin panel » Manage Metadata » Interested Parties. New interested parties can be added via track metadata CSV, directly onto a track details page as discussed in the following section, or right on this Interested Parties page by clicking the Add Writer or Add Publisher button.
Edit the centralized listings of any interested party, and any changes you make will affect all listings of that party across any track hosted on your site.
Changes to an interested party can be made from the main Interested Parties page by clicking on the party’s listing » Edit, or make changes en masse by clicking Export CSV on the Interested Parties page, editing the CSV locally, and importing the edited CSV by clicking Update Multiple on the main Interested Parties page. With either of these methods, you’ll find an expanded list of fields available for storing information relating to your interested parties such as contact information and web links.
Interested Party Data on Track Details Pages
On any track details page, interested parties’ data is contained in its own table below all other metadata.
From this view, edits can be made by clicking Edit Track Metadata » move your mouse over the respective Interested Party table and click Edit.
From here, you can click the button to Create a New Writer/Publisher (one that doesn’t yet exist in the centralized Interested Parties page), Add Writer/Publisher (one that does already exist in the centralized Interested Parties page), or edit relevant information on a listed interested party as it pertains to that particular track. All three of these functions can also be accomplished using a track metadata CSV export/import in the admin panel » Manage Metadata » Import Data and Export Data.
Upcoming Online Music Industry Events and Resources – Spring 2023
Check out our hand-picked list of the best online resources for composers and music businesses in the coming months!
The Future of Creator Tools is Now – March 1
All kinds of creators are exploring music-making in wild new ways—making music with a phone, in mixed realities, or with the help of AI, and distributing their work with the click of a button. The rapidly evolving creator economy is transforming A&R discoveries, fan engagement, and the music economy as a whole. The floodgates are open! Join Music Techtonic’s live event to discuss the exciting, ongoing developments in the booming creator economy!
Register at musictectonics.com/onlineevents
SXSW ONLINE – March 10-17
The SXSW Online Pass is your key to experiencing SXSW studio interviews and keynotes with industry leaders across music, film, and tech. SXSW ONLINE also provides access to the SXSW XR Experience World in VRChat, hundreds of audio session recordings across all conference tracks (Interactive, Film & TV, and Music), and SXSW’s live channel running throughout the event featuring 30+ keynotes and featured sessions.
Register at cart.sxsw.com
Music Ally NEXT – April 25
Presented in association with JKBX and supported by Boomy, Last.fm, and PRS for Music, Musc Ally’s new annual event, NEXT, looks at what’s next in technology and music, highlighting the most relevant trends, technologies, and companies helping to shape the future music business. This one-day event can be attended virtually or in person in London and will provide practical insight to industry professionals as well as the opportunity to learn from and connect with a wide range of relevant companies and industry experts.
Register at musically.com
ASCAP Experience – May 30-June 1
The ASCAP Experience brands itself as “the ultimate music creator community and event series.” The three-day virtual event program features in-depth industry panels and workshops for songwriters, composers, and music industry professionals. More program details coming soon!
Register at ascapexperience.com
Client Feature: SottoPhonic Music Talks Quality Over Quantity
SottoPhonic Music was launched in 2019 by composer/songwriter Stephen R Phillips, who in 2001 founded the TV and film song catalog Bosshouse Music. Springboarding off of Bosshouse’s years of success, SottoPhonic focuses on creative partnerships in television, film, and advertising. In our interview, Composer & Owner Stephen Phillips shares how he’s grown the company in the five years since its formation.
How did SottoPhonic Music first begin? What did the business look like in the early days?
SottoPhonic’s genesis began in 2018, shortly after I sold the remaining publishing interest in The Bosshouse Music Library and embarked upon the creation of a new music catalog entity. The early days of SottoPhonic consisted of me donating unused score cues from various shows I was scoring and collaborating with a select group of artists on songs. The early SottoPhonic edict was quality over quantity, and we’ve kept that boutique style even as we’ve grown to offer a variety of artists and genres.
What kinds of sounds or genres have been most in demand from your clientele recently?
Alternative rock, rock, alt americana, and hip hop/rap.
Is there any specific customer sector that’s experiencing rapid growth right now?
Sports – alternative rock and hip hop. The sports sector of our business has been an ever-growing one, and as the content has grown, with much of it being catered to sports specifically, this has helped SottoPhonic delve even further into this sector, secure successful blanket deals, and garner needle drop rates that compete with commercial music.
What’s the best way to get a music supervisor to listen to your tracks?
Personal one-to-one reaching out. To simply call on one of our many long-time supervisor clients from The Bosshouse Days. In addition, we continue to develop new relationships. It’s the personal level that counts.
Do you pursue any marketing initiatives to make the company stand out from the crowd? Or does most of your business development happen through direct communication.
Direct communication and reputation from 20 years of Bosshouse Music.
Is your music available to listen to on DSPs?
Yes. A portion of our music, mainly artist songs and scores that have been placed in film/tv, are available on DSPs such as Spotify & Apple Music.
Where does SottoPhonic Music source its material? Are you currently looking for new composers?
SottoPhonic is primarily artist-driven with me at the helm along with a close-knit, small group of artists, composers, and producers.
Any advice for up-and-coming sound designers, composers, or recordists striving to create professional, industry-quality tracks?
Listen more than you speak… work hard to achieve your 10,000 hours... and musically speaking, focus on doing great work that communicates your own unique voice.
Does SottoPhonic Music have a company mission that guides business development or client experience?
From this perspective, SottoPhonic operates from an old-school ethos: maintain personal relationships built on 20 years of earned trust and always exhale amidst the craziness of deadlines – to do our best to give the client exactly what it is they’re trying to communicate.
Any all-time favorite placements?
Grey’s Anatomy, Garnier Fructis, and our 250 individual song licenses in the Showtime series SHAMELESS.
