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I am noticing that more and more publishers are accepting conditions from the big TV companies such as Viacom, Discovery Networks and A+E Networks where they are giving away 50% of publishing in order to gain guaranteed preference for placements on their shows, which leaves 25/25 to be split between publisher and writer.
Is this where the industry is heading – billion dollar conglomerates squeezing the living out of artists and creators, taking half of what little money most of them make? Do these companies not have enough money already? Do they think this is the best way to nurture creative talent, by taking half of their earnings away? Why is it ok to do this to musicians and not to the script-writers, actors and directors?
In such an over-saturated market can any of us afford to take a stand and refuse these conditions, knowing that if we do a hundred other composers will accept them?
Unfortunately, it’s getting even worse than that. I actually saw a contract recently where the “Library” was asking for 50% of the writers share, and no publishing at all..
I guess the whole thing is “how far are writers willing to go to get a placement?” I personally, will not take any of these deals, and its a “principle over money issue for me”.
To anyone that is just getting into the business, I would say.. If you think just getting in the door with lousy contracts at first; and hoping to change things once you are in. YOU are not only mistaken; YOU are creating a bigger hole for yourself than you know!
To those that have contracts already in place, and have been with libraries for years; this will not affect you. But to the new composers that are looking to make a living in “Production Music”; by settling for these terms, and de-valuing “your product”. The large majority of you will not make even a sub-standard living..
If you think just getting in the door with lousy contracts at first; and hoping to change things once you are in. YOU are not only mistakenYOU are creating a bigger hole for yourself than you know!
So true. Once the bar is set, there’s no going back. Another example is custom work. If you think you will score a clients project for free expecting they will then pay you to work on their next project it’s not going to happen. The bar has been set at free, and they will just find someone else willing to work for free on the next project.
Everything that you all are describing here is the product of too many people trying to get into an already overcrowded market. It makes no sense, other than it’s something for which the bar is now virtually so low nearly anyone and everyone can participate.
If you consider the amount of time that it takes to produce a decent track against the backend from TV-focused libraries, it’s easy to see where you may be making minimum wage or less per hour invested. And, no, those non-evergreen tracks will not be earning you a lot of money ten or fifteen years from now.
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