Changing Trends in Micro/Major Sales

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  • #37738 Reply

    <<thumbsup>> Beatslinger.

    New times. New goals. New endeavors. New challenges.

    I ain’t dead yet. 🙂 🙂 The traditional music library business might be soon though. LOL

    #37742 Reply
    Roscoe Foderotz

    I certainly notice these annoying you can make it TV licensing schemes and I think they need to be called out on their weak game! There are a couple that automatically come to mind and each time I see them it makes me sick….
    Hey Art!! Am I allowed to name some names? I am sure we have some “Enquiring minds that want to know” and some that need to be saved from peril…

    #37743 Reply

    Forget about “make it in TV Licensing Scams” that is not what this thread is about. We’re discussing “Changing Trends”.

    However it should be titled “Dumb Composers who ruin the business for themselves and everyone else by accepting horrible deals where you hand over OWNERSHIP out of overt stupidity and ignorance, lowering their prices to $5.”

    Who are we kidding here? Who is helping to change these “trends”. Don’t you see the writing on the wall? Music Publishers, Music Libraries, Stock Licensing Platforms will keep chipping away at your share of the pie anyway they can. If you writers keep giving them more of your pie, they will keep asking for more pieces so long as you keep saying “Yes sir, take my music and don’t pay me! I love working for free for you.”

    Of course they all want your music EXCLUSIVELY for them to publish and make money off of. They want EXCLUSIVE ownership to make them exclusively wealthy (example sell blankets to SCRIPPS and ESPN with your music and not share that revenue pie with you). Meanwhile, you remain desperately poor, scratching your head, wondering what happened? Well when you sign and agree to every Sh_t deal placed in front of you, you will change the trend and the trend will not be in your favor.

    How about reversing the trend? Raise your prices, Ask for 60% or 70% of the pie, don’t write a track for a lousy $200 to help CBS VIACOM build an internal PRO free library that will help wipe you out one day. Don’t ever give up 50% writers share.

    Who created this “trend”? I’d say look in the mirror.

    Also, those selling courses on how to make money in sync licensing, they aren’t stupid, they are smart. They see an opportunity to earn money from people with some money to hand over. It’s no different than Universities grabbing 30K to 75K a year for hyper inflated tuitions. As long as there are willing buyers out there, they will keep grabbing your money.

    #37744 Reply
    Art Munson

    Hey Art!! Am I allowed to name some names?

    Better to mention them on their listing, not here. This topic will eventually get pushed aside by newer topics.

    #37745 Reply

    Forget about “make it in TV Licensing Scams” that is not what this thread is about. We’re discussing “Changing Trends”.

    I don’t know what you’re talking about. Yes, these “make it in TV & film music schemes”, the mass advertising of them, and social media itself are KEY factors in bringing a TON of VERY desperate fishermen to these small but once sustaining fishing holes.

    Seeing the mass influx of “so-called” composers & writers has been like chumming open ocean waters. This has brought out predatory companies, and those looking to make a quick meal off of the remaining carcass.

    I see everyday a new composer speaking about finally getting their first placement; and being overjoyed that it is appearing on a MTV, Real Housewives franchise, or Love & Hip Hop show.

    Imagine now having fishing holes SO crowded that people are desperate to take home a “bait fish”. Where there were easily 10 placements a week. “Some/many” are seeing 1 to 2 every couple of weeks.

    If this isn’t a part of the problems with the current trends. I don’t know what is..

    Also, yes there are some great fishing holes left. They are being HIGHLY protected too!

    #37748 Reply

    Here is a dose of reality BEATSLINGER:

    2% success, yet they keep signing up for his “school”.

    #37750 Reply

    Here is a dose of reality BEATSLINGER:

    There are WAY more than Him that jumped on this bandwagon. In addition, just the massive amount of advertisement, and attention “making music for TV & Film” got in general. Set a LOT of this bottom-feeding in motion..

    As well, commentary like this makes me glad I never responded to requests to “so-called” pick my brain.. 😉

    #37858 Reply

    I saw this thread cited in the newsletter, and it moved me to comment…

    >> 2% success, yet they keep signing up for his “school”.

    The scare quotes around ‘school’ there strike me as rather unfair. The guy in question has always offered a wealth of free educational/tutorial videos covering a wide variety of subjects on the business and production side of sync licensing. His paid platform has an enormous amount of similar material that goes into greater depth. It’s oriented towards beginners or intermediate composers, but he isn’t selling an unrealistic view of the business. He has consistently advocated hard work, persistence, and understanding the nature of what works to get placements, and explicitly does not promise success. In my view, he offers a real education and it’s up to the student to put that knowledge to use. He provides a valid educational resource, and I don’t see why it deserves harsh criticism.

    I do not have any studies or data to back this opinion, but I think a very large number of people with an interest in a production music career receive no guidance outside of YouTube and forums they happen to find. Nobody is there to lay out what is ‘bottom feeding’ and what isn’t, and there are significant barriers to them even learning about the high-end library world, much less how to get into it. Going along with the fishing analogy, for someone to even arrive at the fishing hole, they have to navigate a dense, byzantine forest without any clear paths or signs marking the way. So, when a new composer hears a bird in the trees saying ‘the fish are over that way,’ of course they’re going to have a look… and if the fish are minnows instead of albacore tuna as big as you are, well, they’re still fish. Catch enough and you eat.

    I generally agree that the business models sustaining the royalty free music industry are failing the composers, and that the continual decline in licensing fees makes it tough to advocate participation in that arena. Sync licensing seems more viable if your skills and disposition work for that medium. I make a small chunk of income from sync royalties. I saw the crowds at those fishing holes, left, and hacked through enough underbrush to find my own little pond in the video game industry.

    I like working with indie game devs, and in general I’m sure the prices I charge would be disagreeable to you. However, I found a model that works for me and has enabled me to make composing my profession for the last decade plus. More recently, it’s also enabled me to help other artists make a living, and help charities as well. That said, I don’t specifically advocate my approach to others because what worked for me as I moved out of the RF market and into games would be a lot harder to pull off now than it was in 2013.

    I see these markets as changing constantly, and nearly anyone looking to stay active producing music for a living has to be agile and have several bodies of water where they cast their lines. There’s always going to be a cream of the crop who can focus on one niche and perform exceptionally, but… you probably won’t know if that’s you until it’s plainly obvious that such is the case.

    Finally, Music1234, I do agree with your comments that the PROs should deliver on streaming uses and cable placements (ESPN etc), and composers should always strive to retain ownership of their catalog. But, I won’t condemn composers who find any way to make a living in music, even if it’s through exclusive/subscription libraries. If they are like me, they had no help or guidance in making a career, and if they managed to pull it off, more power to them.

    #37860 Reply

    I don’t know if this is a trend, but I’m seeing a real lag in Libraries registering my tracks with a PRO. I don’t think I’ve ever had a label register them in under 6 months, and I’m waiting over a year for some. I take this as a “vote of confidence” that they don’t expect to make money with most tracks…. at least that’s my (possibly naïve) interpretation.

    It does feel to me that doing any kind of production music will become an increasingly smaller part of the income pie. I’m not totally convinced of this, but I’m starting to get this feeling.

    #37864 Reply
    Michael Nickolas

    However, I found a model that works for me and has enabled me to make composing my profession for the last decade plus.

    Thanks for the thoughtful post JoelS. I did the same over my career, creating music for educational products. For me, more lucrative than the library business which I worked on when not doing WFH projects.

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