Coming from custom scoring to library scoring

Home Forums General Questions Coming from custom scoring to library scoring

This topic contains 3 replies, has 2 voices, and was last updated by  Michael Nickolas 1 month, 1 week ago.

Viewing 4 posts - 1 through 4 (of 4 total)
  • Author
    Posts
  • #26828 Reply

    Matahari
    Participant

    I have been making my living as a Film, Tv and Advertising Composer for awhile and I’ve done quite well.I’ve done small amounts of library work. It’s really refreshing,changing the way I work.

    My question is do I use my real name or a mystery name?

    I’m wondering if by being in a library it will bring positive attention to my “brand” as in someone hearing a track and contacting me for custom work or cheapen it?

    I am starting to get attention from some libraries and want to make sure I maintain the quality of my work as I get paid quite well to score.

    #26829 Reply

    Michael Nickolas
    Participant

    I don’t see why not to use your name. Custom score work and library tracks are two very different endeavors. I don’t see you competing with yourself. Clients that use custom score do so because a library track is not going to work for them. I also don’t think having tracks in libraries would affect what you are paid to custom score. I’ve done a lot of custom writing. The pay is good because of the back and forth required, always making changes to please the client. Then there are the deadlines and most likely giving away rights as a work for hire job. Having tracks in a library wouldn’t change this.

    #26831 Reply

    Matahari
    Participant

    what about with RF?

    #26837 Reply

    Michael Nickolas
    Participant

    I guess you mean the possibility of a client seeing you have a track for sale on RF and saying hey, why do you charge me so much for custom score when your RF pieces are so cheap? Still, it’s two different markets. They are paying a premium for custom music, where stock pieces just won’t cut it. They are paying for all the revisions needed to reach their vision of the music. Maybe paying to hire musicians and vocalists. Paying for the composer to work to their deadlines and to deliver whatever they ask for.

    But, I also see the possibility of them not understanding all that, when a completed RF track costs forty bucks. So I guess I’m no help. 🙂

Viewing 4 posts - 1 through 4 (of 4 total)
Reply To: Coming from custom scoring to library scoring
Your information: