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Hi guys,
Do many of you on here have much experience doing work for hire agreements with libraries where you assign over copyright to the library in return for a fee?
Any recommendations on libraries offering this service?
Hi John. Generally, libraries that pay for tracks expect a high level of production value. They are also prized clients of composers that may make a good chunk of their living from such gigs. For that reason, it’s unlikely that you’ll find people willing to divulge such info on a public forum. That said, to start things off, you might want to check out the big libraries, who do pay nice upfront fees: Killer Tracks, Warner Chappell, Megatrax for example. Just make sure your demos match or exceed the quality of what you hear on their websites.
Hello people, i was wondering if any of you could provide me some insight on buyout rates for work for hire tracks. I am sure there is a wide range but any kind of experience would be helpful here as this is my first deal of this kind. I would not want to appear greedy, or on the other hand, be taken advantage of. Thank you
bump
The big exclusives pay $500-1000+ per cue, based on length and style. Smaller libs range from $120-300 or so per cue with many getting away with paying much less.
Hello peeps 🙂 I was wondering why some libraries prefer WFH contracts whereas others do an exclusive pub agreement. Is it because in a WFH the copyright automatically goes to the publisher without there having to be transaction of sale. So then, is a WFH the same as assigning copyright to the publisher? Thanks in advance for your thoughts.
Usually work-for-hire implies the library is going to keep any future licensing money, you just get the upfront fee and writer’s royalties.
Some libraries might use that terminology for an exclusive deal where you’re supposed to still get 50% of all the licensing, but be careful with a contract like that and consider getting a lawyer to look over it.
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