It’s my guess that your recordings haven’t shown up in the samples SoundExchange relies on to make distributions, or it is possible that they have and the SoundExchange folks responsible for crediting you can’t identify you as the artist.

They’ve made a point of not telling anyone that they sample, or how they do it. After a year of promises to me that SoundExchange would explain the sampling process to me, John Simson decided it was better if they simply updated the website FAQ to explain the process. That was last spring, and there still is nothing new there to explain. In fact, the website still makes it sound like you will get paid if your recordings are played once.

You’re the victim of another SoundExchange dirty little secret. You and tens of thousands of other artists.

Fred Wilhelms

dl

Since the comment system here does not allow for email notification of commenters when a new one is posted, I doubt that “artist angel” lawyer Fred W. will see your post and get you an answer.
you might want to contact him directly;

Fred Wilhelms – p2pnet
[If the corporate music industry had any ethics, Wilhelms would be its ‘ethicist-in-chief,’ wrote CounterPunch’s Dave Marsh. Wilhelms is an entertainment attorney based in Nashville, Tennessee. You can contact him at fred.wilhelms @ gmail dot com.]

it would be great to hear about artists who actually get their money and thank the very people whom the riaa and mpaa are bent on blaming everything on…

This is that’s simple folks!

ja, it seems the site which is marked as (c)2008 Capitol Music Germany
(that’s EMI!) does not even allow to READ forum entries other then the
title if you are not a member

http://www.pur.de/forum_thread.php?topic_id=12

” Hans Knees – I too grabbed a few of the names and plugged them into google.
Not only did I find actual band pages for some, but also biography info, band member names, connected artists (gigged together) and so much other useful info. ”

If everyone who does this leaves a note for the band and a link to this
article, it would be doing some artists ( who would otherwise be screwed out
of what is theirs ) a big favor, and at the same time show just what the netizens
can do.

Let operation ” Show Me The Money ” begin

Listen, SoundExchange – I’ve managed cheap workers. Real bad ones. Interns. Temps. H1B’s. Bad, stoned, hungover people who never should have been employed, anywhere. But even the most god-awful, horrible, worthless examples of that crop could handle this job. And you, with your millions of dollars, can’t.

Speaks volumes.

I need a job.
I could do this easily, on my own, and still meet the 3 year deadline for every artist

http://www.pur.de/forum_reply.php?topic_id=12&thread_id=30085

In recent months, I’ve found a number of artists through MySpace and Facebook, too. They’ve all signed up since then.

What we used to think about in terms of “six degrees of separation” has now been cut in half by the Internet. SoundExchange’s dismal failure to use the tools at its disposal is explainable only in terms of their real goals; they don’t want to find artists because they will have to pay them. If we do the job they refuse to do and make them pay the artists they don’t want to, we will expose their excuses as the fabrications they are.

I have no real hope that we can embarrass them into better performance. The executives and Directors are constitutionally incapable of shame. Even the so-called “artist representatives” on the Board of Directors are accountable for their positions to the RIAA, and the silence of those “artist representatives” about SoundExchange’s incompetence or willful indifference is an open indictment of their complicity.

Perhaps the best we can hope to accomplish is that, if there is ever a performance royalty established for terrestrial radio, the collection and distribution work is given over to an organization that isn’t under the thumb of the record industry and which is truly accountable to artists. We need to make an object lesson of SoundExchange, one that Congress cannot ignore (despite the millions in artist royalties diverted to lobbying), to avoid repeating that mistake.

It took SoundExchange six years to publicly admit on their website that recording artists cannot be “members.” That privilege is limited to copyright holders (usually, the labels). We can see the results of leaving the welfare of artists to an organization that gives lip service about “loving and respecting” artists, but won’t let them sit at the adult table when it comes to deciding what is good for them.