John Scott G

John Scott G

John Scott G, an admitted word nerd, writes books, plays, screenplays, and political commentary. Author of "Area Code 666," "Secret Sex," and "Ambient Deviant Speedmetal Polka," Mr. G also writes under the pseudonym Gerald Laurence. Every day he happily rubs a few phrases up against each other to create sparks in your brain. You're welcome.


  1. Avatar photo Jules Bromley
    Mar 22, 2010 @ 12:40 PM PDT

    Very interesting article Scott – many thanks.

    So … which is the best service for composers trying to protect their revenue streams by monitoring usage themselves, and then taking up statement discrepancies with the collection agencies? I’ve been in touch with Tunesat, and had a demo of their technology, but am finding it hard to get impartial 3rd party feedback on how effective and potentially lucrative these services really are.



  2. Avatar photo John Scott G
    Mar 22, 2010 @ 6:18 PM PDT

    Hello Jules –

    Thanks for your comment!

    As a fairly new publishing company, we are still going through the registration phase with many of the firms mentioned in the article. Which means I don’t have nearly enough information to properly respond to your question.

    Naturally, we have registered our song titles with the PROs, and as a publisher, we have the 3 company names and bank accounts to interact with BMI, ASCAP and SESAC. And we have sent our song titles to SoundExchange and RightsFlow. TuneSat is next on the horizon.

    If you like, I can keep you apprised of the ongoing activities during the next few weeks and months.

    One interesting problem we’re all likely to face is with the three different digital fingerprinting technologies used by the three North American PROs. . . when I (a BMI writer) collaborate on a song with an ASCAP or SESAC writer (or even one of each), we will get different uses reported to us from the different services. As far as I know, the three PROs are not recognizing each others’ tracking figures. This needs to be worked out in the future!

    We’ve also been looking ahead to the mobile2mobile world. Once multimedia messaging (MMS) gets bigger, songs and music videos are going to be sent from phone-to-phone over the wireless carriers (Sprint, Verizon, ATT, and T-Mobile) and the music industry could be facing another round of Napster-style piracy.

    Ah, technology. Gotta love it! It would be helpful (and lead to far fewer lawsuits) if everyone agreed to a statutory rate for the mobile2mobile file transfers of copyrighted material.

  3. Avatar photo Jules Bromley
    Mar 23, 2010 @ 5:13 PM PDT

    Would certainly be interesting to hear how your tracking endeavours work out.

    I’m UK based and have suffered a catalogue of recent tracking/logging failures with the PRS (our collection agency), which is why I’m feeling the need to embark on self-tracking activities. At this stage though I have no handle on what additional, payable usage a service like Tunesat is likely to uncover. With a catalogue of say 100-150 tracks it may be significant, or it may be peanuts and not worth the subscription charges.

    I guess there’s only one way to find out …..

    I hear you on mobile2mobile – that and online usage are the next major headaches the PRO’s have to tackle.

  4. Avatar photo Dr K Chaudhry
    Nov 15, 2010 @ 12:40 PM PST

    I have 48 songs registered with BMI, adding at least one song every day. BMI has song title and song writer infomation. My music has nowhere been submitted, to serve as reference for verification. I wonder how BMI can track usage of my songs, with information at hand.