Have you abandoned the PRO back end only model?

Home Forums General Questions Have you abandoned the PRO back end only model?

Viewing 14 posts - 1 through 14 (of 14 total)
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  • #24754
    mojorising
    Participant

    I was curious how many of you have decided to abandon the PRO back end only driven (JP) libraries? Or do you still embrace them and send all your cues since its NE and sometimes you land a decent placement? I’m on the fence because I’ve had a few placements from libraries like this that added up over time. But for the most part I would have made more money selling each of those tracks for $40 on a RF site. For now I’m doing both but starting to question if it’s worth all the time with meta data and uploading for only back end performance royalties. more often than not in my experience they turn out to be chump change, while these libraries are collecting blanket fees and not sharing with the artist. But then again I’ve had a handful that brought in a few hundred each in royalties. But many more that probably netted me around $2

    #24755
    guscave
    Guest

    I’ve been sending tracks to RF and back-end only libraries equally for about 5 years, and 75% of my music income still comes from back-end royalties. (JP) being my main income producer.

    I get between $30- $80 monthly from RF libraries and I’ve gotten a few nice checks (over $500) for sync from NE libraries.

    I know for some composers, it’s the other way around. They make most of their money for RF sales. But that just hasn’t been the case for me.

    #24756
    Art Munson
    Keymaster

    I’ve been sending tracks to RF and back-end only libraries equally for about 5 years, and 75% of my music income still comes from back-end royalties. (JP) being my main income producer.

    Same here.

    #24757
    mojorising
    Participant

    Interesting. And that’s encouraging to hear actually. Can I ask roughly how many NE and RF libraries do you usually send tracks to? And about how many tracks per year not including sub mixes would you say you put in to the system? Just Curious if anyone has found kind of a target work flow that seems to get consistent results? or at least what you shoot for in output??

    #24760
    Alan
    Participant

    My income is split about evenly between RF and PRO. After 6 years the RF income is leveling off while thePRO income steadily increases. I expect my PRO income to level off this year since JP has gone exclusive and they account for at least 75% of my PRO income.

    #24763
    MichaelL
    Participant

    Now that many back-end only libraries (JP) are moving to the exclusive model, how do you divide your tracks?

    #24764
    Art Munson
    Keymaster

    Interesting. And that’s encouraging to hear actually. Can I ask roughly how many NE and RF libraries do you usually send tracks to?

    2-3 of each.

    As far as number of tracks? Probably only 40 or 50, at most, per year. I’m way past busting my gut on this!

    #24766
    Paolo
    Guest

    no RFs (yet)- I vary between two to three non-excl and as of last year one to two APM excl.

    Right now, I’m writing around 40 tracks/yr w/ additional 40-60 enhanced alts – which have been getting as much play as the main vers).

    1/3 tracks for ex and 2/3 for non-ex. It’s been working out 🙂

    #24767
    ChuckMott
    Participant

    Is the trend still for NE’s eventually to move to exclusive? I just started getting placements like a year ago, but I have to say, in that small time frame, exclusive libraries are way outperforming NE’s I’m in in numbers of placements.

    #24773
    guscave
    Guest

    When JP went exclusive, I joined them right away because they had already placed so many of my songs. So what I do is write about 5 tracks for them each month ( I would do more but they only allow up to 10 uploads including alt mixes).

    I’ll write another 7 to 10 tracks a month which I submit to about 5 NE libraries. Currently I only work with one RF library and will submit some of those same tracks to them.

    If a library emails me about something they’re looking for in particular, I’ll usually drop everything and try to get them as many songs as I can.

    #24777
    mojorising
    Participant

    That’s a pretty impressive amount of songs you all are putting out each month! I’m also in a touring band and I teach about 20 private guitar lessons per week on top of having a 2 year old baby so I’m finding it hard to get numbers like that consistently.

    I’ve been trying to decide whether to keep sending my tracks to 4 or 5 NE and RF or just send to one UK EX that is connected with APM. But I haven’t been with them long enough to know how they will perform with my music.

    #24780
    guscave
    Guest

    I’ve been trying to decide whether to keep sending my tracks to 4 or 5 NE and RF or just send to one UK EX that is connected with APM.

    I would do all of the above. In today’s music business you can’t rely on just one outlet.

    #24838
    Jonathan Wright
    Participant

    Since I started around 2 1/2 years ago, RF income has far, far outweighed PRO income.

    On a side note, I wish forums like this allowed us to display the genres of music we generally compose for.

    It would be really helpful when reading comments like ‘This library is amazing, I’ve earned a lot with them!’.

    The member could compose heavy metal, orchestral trailers, EDM or anything and it would be great to have a point of reference for the comment.

    #24914
    mojorising
    Participant

    Have you seen any PRO income from your RF sales? Are the RF sites you are using the typical kind where clients still have to fil cue sheets if it’s for broadcast or have you done 100% performance free sites?

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