Not sure what to do

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  • #22515 Reply
    Peter
    Guest

    I’ve been told you need an invitation to submit to a PMA library, so being new to the game and living in Australia I can’t get out to many meetings for networking.

    On another note – I did notice that Boost Music accept demos. So you send them a link to a demo – what and how should this demo be crafted? Should it contain just the most exciting parts of each track? and for how long each? how long should the whole demo run for?

    So many questions. sorry.

    Peter

    #22516 Reply
    Comproser
    Guest

    Hey Peter,

    Nearly all PMAs accept demos via email. I listen to a library I want to submit to, and see if I have any music that fits a previous album they put out. Then I put the songs on a private play list in soundcloud and send it to them saying the songs would fit the certain album I’m going for or something like it.

    #22517 Reply
    Rob (Cruciform)
    Guest

    Read this.

    https://www.gearslutz.com/board/10416840-post22.html

    If you have questions, read it again.

    #22518 Reply
    Rob (Cruciform)
    Guest

    Ps. I’m not being facetious. Derek (the post author) provides gold on strategy for getting in with the big libs.

    Pps. Hi from another Aussie.

    #22519 Reply
    Peter
    Guest

    Hey, Hi from Canberra!

    I think I need to do some more homework on this after reading that. I’m actually still thinking I’m not anywhere near these libraries as far as talent and production goes.

    Maybe I should just keep going with the RF libraries for a while until I feel more confident.

    Peter

    #22520 Reply
    Kiwi
    Guest

    Derek’s GS post linked above is a must-read in my opinion.

    I’ve been fortunate to do several albums in the last year and a half that are distributed by Warner/ Chappell and other large distributors. All of these are through excellent boutique libraries that I approached with cold call emails linking a playlist. I’ve mostly been met with ambivalence and rejection but I always end up finding a good home for my music so it makes no difference in the long run.

    Once I’m in with a new library I have a nice opportunity to establish a relationship that can have value way beyond the obvious (good distribution, etc). What I’ve found so far is that every library of this type that I’m with is run by people who are extremely knowledgeable and passionate about music in general and production music specifically. Getting feedback from these sorts of folks while writing albums has helped me to better my compositional and production skills in ways that couldn’t have happened working with libraries that don’t offer that sort of interaction. It’s a great win/ win situation. I make better music and they receive better music. Through this type of relationship I also gain insight as to what the library is working on next so I have an edge in getting more music out there with them in the future.

    Derek mentions this in his post. Most libraries that offer an automated online submission process are interested in quantity over quality. You’re not going to get the same sort of feedback and relationship building by interacting with a user interface that either accepts or rejects your cues without any further conversation.

    Building these types of relationships has made writing for libraries much more fun and rewarding for me. I can’t imagine doing it any other way now.

    Just so you know, I’m a full time music guy who is a part time library guy. I also work as a producer/ engineer and occasionally write directly for a production company. For me library is a great sidebar to an already busy musical life.

    #22521 Reply
    MichaelL
    Participant

    Great advice for Peter regarding getting into PMA libraries, but I think the core of his question was about whether to keep his day job.

    So…is your experience with PMA libraries that they provide the key to quitting your day job, or do they only provide another nice source of income?

    #22523 Reply
    MichaelL
    Participant

    Derek mentions this in his post. Most libraries that offer an automated online submission process are interested in quantity over quality. You’re not going to get the same sort of feedback and relationship building by interacting with a user interface that either accepts or rejects your cues without any further conversation.

    Building these types of relationships has made writing for libraries much more fun and rewarding for me. I can’t imagine doing it any other way now.

    The personal relationships and mentoring that I experienced, especially with late PMA founder Andy Mark (the PMA has just initiated an award in his honor) were invaluable.

    There’s what I would call an “artist development” approach that generally doesn’t exist in the online marketplace because the traditional library is investing in you and in producing your music.

    That said, I don’t think there has to be an either/or approach regarding PMA vs RF. RF is good if you have an entrepreneurial spirit and don’t mind all of the tedious work involved. The two models don’t really overlap very much. For the most part, RF libraries have a clientele that would not generally be licensing tracks from upper-tier libraries. Of course, there are always exceptions.

    There are many composers who write for both PMA and RF libraries with no problem. Some go to great lengths to keep those worlds separate, using pseudonyms etc. Others, who are very well known in the industry, simply see RF as a viable source of additional revenue and don’t bother with the cloak and dagger routine.

    There are PMA libraries that sell RF content (without the automated submission process). If they see potential in the RF marketplace, maybe it shouldn’t be dismissed.

    #22527 Reply
    Kiwi
    Guest

    To be clear, I wasn’t trying to talk anyone out of participating in the royalty free marketplace. I was only trying to relay my experience and what has been working for me. Everyone is unique and I’m not about to assume that my way is the best.

    As far as the question re: quitting the day job. For me, writing for libraries is part of my day job, but only part. There’s no way, at least at this time, that I would give up my other musical income streams to focus solely on library work, especially in the current marketplace.

    For me, isolating library work from other compositional and production activities has always seemed like a weird idea. I would hope that if I were pursuing a career only as a composer that I would also be seeking other opportunities and income streams beyond the library world. Looking at library as the only outlet to me is sort of like a major league ball player saying that they’re only going to focus on catching ground balls while ignoring line drives and high flies. But that’s just me. I know there are folks out there who pull it off but I’m glad to have an ever-shifting balance between all the things I get to do in my little musical world.

    I’m sorry if my response seems vague. To me, it’s just not an either/ or type of question.

    #22528 Reply
    MichaelL
    Participant

    Looking at library as the only outlet to me is sort of like a major league ball player saying that they’re only going to focus on catching ground balls while ignoring line drives and high flies.

    Great analogy Kiwi! For me, composing library music was a way to bridge the income gap between bespoke composing gigs. It has never been a sole source of income. Then, as many know, I decided to go to law school.

    When I left my practice to compose again, I was unaware of how much the business had changed. Hindsight is 20/20!

    #22530 Reply
    Kiwi
    Guest

    Hindsight is 20/20!

    Amen, brother!

    It’s especially true in the library world. As you well know, it will take at least 4 or 5 years before I have any sort of accuracy as to how my current situation is playing out. That’s a good part of why it’s so important for me to participate in ways that ensure that I grow as a musician and producer. There’s more than one kind of investment at play here and that’s a dividend that pays off right away regardless of financial success or lack thereof.

    #22531 Reply
    Tbone
    Participant

    Hey Kiwi,

    It sounds like we have quite a lot in common. Do you have an email I could contact you at? Feel free to send me a PM if you want.

    #22532 Reply
    Art Munson
    Keymaster

    So what is a PMA? Can you give some examples?

    Thanks!!~

    #22533 Reply
    Kiwi
    Guest

    @TBone – Well, I wish us both a lot of success! Unfortunately, I’m not a paid member here so I don’t have access to private messages and i’m not particularly comfortable sharing my email on a thread like this. Sorry.

    @CON – PMA = Production Music Association. There are a number of member libraries and associates. I would caution anyone against assuming all PMA libraries are equal. I know of a couple that have pretty crappy deals although I like the ones I’m involved with. In my experience there’s a lot more consistency amongst PRS libraries in the UK.

    #22534 Reply
    MichaelL
    Participant

    I would caution anyone against assuming all PMA libraries are equal. I know of a couple that have pretty crappy deals although I like the ones I’m involved with.

    This is absolutely true. Do not assume that being a PMA member is a measure of success, or that every PMA library pays upfront or offers great terms. There are 670 publisher members, and people only seem to mention 5 or 6 of them here.

    The farther down the PMA ladder you go the more the scales tip in favor of the DIY RF approach.

    It’s no different than the RF world — hundreds of libraries, but a relative few that really matter.

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