Transition Music
| If you are a composer and/or songwriter, please leave your comments and experiences with this company. We want to hear the good as well as the bad! Please rate, from 1 to 10, by clicking on one of the stars. Below is some general information but we make no guarantee of accuracy. Check with the company for all details. Please contact us for any corrections. | ||
| URL: | http://transitionmusic.com/ | |
|---|---|---|
| Accepting Submissions: | Unknown - Contact at website. | |
| Submit Via Uploads: | Unknown | |
| Submit Via Mail: | Unknown | |
| Submissions Reviewed: | Unknown | |
| Types Accepted: | Unknown | |
| Charge For Submissions: | Unknown | |
| Up Front Money: | Unknown | |
| Royalty Free: (non-broadcast use) |
Unknown | |
| Exclusivity: (Exclusive, Non, Semi) (Semi = Free to place on own but not with another library) |
Exclusive | |
| Re-Title: | No | |
| Set Own Price: | Unknown | |
| Contract Length: | Unknown | |
| Payment Schedule: | Unknown | |
| License Fee Split: (writer/library) |
No | |
| PRO Split Based on 100%: (writer/library writer/library/publisher or writer) |
50/50 | |
| Requires Licensee To File Cue Sheet: | Unknown | |
| Notes: | ||
Categories: Music Libraries T to Z | 
Tags: composers, music libraries, music library, songwriters | 
19 Comments »
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Good company, but the composer only gets PRO royalties – no licensing fees.
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do they retitle?
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No, they don’t retitle. They’re exclusive.
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they dont indicate exclusiivity on any rhetoric on their site. I assume youre signed with them? If so , are you “making good” ?
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They are definitely exclusive. Yes, I’ve had some TV placements with them.
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Exclusive with no reversion clause. They DO get placements but one needs to carefully consider these terms.
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read their agreement. ive seen it .. too many writers HAVE shown me.
it takes exclusive rights in perp on your master too and song in perp exclusive automatically.
you get only writer royalties.
not fair to writers with masters that did cost them anything..
deal should be they license master per each use and writer owner gets 50% of master fee
but you retain the master.they publish song.you get writer share fee,
yes you should know that they wont retitle it but they own assume YOUR master and the song copyrt for no advance IN THEIR CONTRACT.
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They are on top of registering your work with a PRO and make sure your placements get reported. They’re an honest company.
Better than a company like Pump Audio that gives you 35% licensing fees and often neglects the PRO royalty process in registering your work on time or making sure the placements get reported.
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For myself personally, I would never sign away a track forever with absolutely no reversion. IMO there is no excuse for a deal like that. The fact that it is exclusive by itself is not an issue and (for me) neither is the revenue split. But no reversion is almost unheard of out there. I just don’t get it.
All that being said, if you write many tracks and don’t mind letting some go, you can get music in film/TV with Transistion Music.
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Anon,
If i gave you a million dollars to sign away a track with no reversion clause, would you do it? Never say never…
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Yadgyu, January 15th, 2010 at 2:40 am Reply:
I don’t think the exclusivity into perpetuity really bothers most people, as long as they get >$1,000 per track. I colud see the reluctance with no money being offered though. Even many record labels give the artist the rights back after a while as long as that artist has recouped.
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Matt, January 15th, 2010 at 1:00 pm Reply:
More than $1000 a track?! Either you have some mad hook ups Yadgyu, or you’re full of it!
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Yadgyu, January 15th, 2010 at 3:51 pm Reply:
Not at all my friend. I know that Music Dealers (http://www.musicdealers.com/) has deals where a person can get as much as $20,000 for a song on a commercial. I am sure these deals are extremely difficult to land, but they are possible.
I think that if you have the right song, you could start a bidding war between two different publishers. The demand for music, especially quality music, is at an all-time high. There are crazy deals floating around that we never even hear about.
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Matt, January 15th, 2010 at 12:55 pm Reply:
This brings up a really good topic… when is it a good (or less bad!) time to give your music exclusively to a library?
Here are some instances that I came up with:
1) when you get a lot of money upfront ($600+ per track)
2) when you know the library has a track record of getting good performance royalties, or license fees (even if they don’t pay upfront). You might know this from a friend that already has music in said library.
3) when it gets you in the door for further opportunities with the company, including writing for TV shows that they work on in addition to running a library.
4) When the company is very transparent, and shares all income with you (including blanket license fees)
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John
Sure… Right now I’d do it for $1.50!!
But this is a no up-front money deal. We are not comparing apples to apples…
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My attorney took their contract and made a lot of changes to it. They refused to do away with the “exclusive” part, and I was advised to pass on the deal. There has been interest in that song with other libraries (already signed non- exclusively to one) and I want to be able to have more than one library doing the leg work for me.
The only time I’ve signed a song to an exclusive contract was with a song that didn’t have much of a chance getting signed anywhere else, and it would’ve been impossible to re-record the song, so I signed it to the one place that was interested.
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Looking at the contract I was more concerned about the lack of a reversion clause than it being exclusive. Many good libraries are exclusive and that actually can be a plus– there are markets they can get into that the non-exclusive re-titlers can’t. This is happening more and more with the major TV networks.
Contracts that are forever with no exit raise my level of caution. If for any of many reasons, some because of you, some because of them you want out, you can’t.
HOWEVER everything has to be weighed. Does the library have a good track record? I mean, the goal is to get music placed. Do write a lot of tracks and letting go of a few is no big deal? There are no absolutes. One has to weigh all the factors and decide if the deal works for them.
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Hello,
I signed 20 songs or so in 2003-4 really low $, I get ascap checks for lots of cable shows from them cable doesn’t pay it seems. I don’t mind giving away instrumentals, I’ve stopped givings away my vocals tunes….. They seem to be what i call “chasers” whenever some celebrity dies they want that style….. I mean I don’t do “Michael”…. They work work and seem to be good people, not so good a contract…..
D
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