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Feel like I need to add that I’ve been a musician for several years now, working and performing in several bands. ALthough I’ve written many songs in my lifetime, and dabbled with RPo Tools as a hobbyist for a few years before giving that a rest and returning to recording. I have in the last year discovered library /production music and also been a TAxi member and am now beginning to submit directly to libraries. That said, I’ve been reading several posts here and it seems that unless there is a general consensus to avoid specific libraries (taking that with a grain of salt) the standard submission strategy for us newcomers is to shotgun out to as many non-exclusive libraries as possible and see what sticks. Keep working on the craft and trying to nudge your way into more , for a lack of a better term, what you would consider choice libraries?
Chuck:
I am a relative newbie as well, as I have been doding the music library thing for 3 years.
Things work very differently from composer to composer.“standard submission strategy for us newcomers is to shotgun out to as many non-exclusive libraries as possible and see what sticks. Keep working on the craft”
I agree with that completely. I started out with 30 tracks 3 years ago and now have close to 400 in my catalog. Keep writing, honing your skills and submitting tracks.
As far as libraries to recommend, that too will vary from composer to composer.
I’m a newb as well, approaching the 1 year mark now. My process has been almost exactly what you described (minus the TAXI membership) and it seems to be working thus far. Write write write, submit submit submit, all the while paying close attention to what works and what doesn’t work.
One thing I try to do, which I think will prove quite fruitful in years to come, is to forge as many relationships as I can with others in the industry (library owners/reps, media producers, other composers, etc.). I try to be prompt and polite in emails, and I’ve had informative and enjoyable phone conversations with some publishers/libraries.
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