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HAs youtube ever rectified the problems with content i.d. that they were having? Is it still a requirement that music be exclusive to be entered into content i.d.? Is this still causing the same problems that it did 5 years back?
From what I’ve seen (purely anecdotal) there is less fraud / false claims, but more ‘greed claims’ or ‘dumbass claims’ than ever (that’s a technical term for composers or libraries enrolling non-ex tracks in content ID by mistake).
If anyone’s wondering why more libraries are insisting on exclusivity / ownership, content ID is one of a handful of reasons (along with clients freaking out over re-titling, clients wanting a cut of re-titled publishing, library owners wanting a potential buy-out retirement).
I agree Mark, but have a few thoughts on the specifics :
If anyone’s wondering why more libraries are insisting on exclusivity / ownership, content ID is one of a handful of reasons
Understood, and makes perfect sense. If they want the exclusivity, they will need to buy it upfront though. To give away exclusivity of master and copyright without proper and significant compensation is the ultimate example of desperation and/or ignorance IMO. So many guys who do not understand the implications of giving away the farm will learn soon enough. In the meantime, clients and libraries and licking their chops in eager anticipation of the realization of PT Barnam’s most famous quote.
along with clients freaking out over re-titling
If the clients don’t like re-titling, they are more than happy to request custom music written for them at a fair price. You know, just like the old days.
clients wanting a cut of re-titled publishing
That’s fine too, they can talk to my publisher and let the publisher decide.
library owners wanting a potential buy-out retirement).
Yeah, no doubt. Again, money up front talks. And not $100-300. Add another zero to the first number and we can begin talks. Otherwise, no exclusive for them.
Money talks, and the BS of this industry can take a long walk off a short pier. The creme will rise to the top, and those unaware of what they are doing and giving away will fade into obscurity as they will be forced to take on day jobs due to their poor decisions.
Money talks, and the BS of this industry can take a long walk off a short pier.
Amen to that LAwriter!
those unaware of what they are doing and giving away will fade into obscurity as they will be forced to take on day jobs due to their poor decisions.
I’m 100% on the same page as you LA Writer.
I think we all need to make a stand for better deals while we’re still in the pre-AI years of the music library business.
I could not imagine how awful it would feel knowing that another company has 100% control over my music. What a nightmare. Yet, on youtube you hear so many guys saying “Hey I just go and write another cue.” REALLY? WOW!
I am having the exact opposite experience. I write tracks, release them myself on sites I chose, and then frankly watch many of them go on and earn me 1K to 10K over a few years. This is just front end sync fees (licenses sold) too. I am not even talking about the inclusion of Back end PRO royalties. If you bring those into the mix tracks can go on and earn 5, 10, 30, 50K over time (5 to 10 years)So to all you publishers out there (and new writers or young writers) If you do want exclusive ownership of cues, I am sorry but you better be offering $3000 a track advance. If you give me 3K, I would consider making you the exclusive publisher and copyright owner of the cue where you can dump it into content ID and earn ad revenue, sell sync fees, and so on.
It’s just amazing how people do not see long term value in their own music assets.
As far as end clients and “exclusivity” goes. I could not agree more La writer, just hire someone to score the project and get original music.
We’re in a time when media companies are swimming in massive profits and cash, yet there still seems to be this cheap talk of “we don’t have a big budget for music” crap that still persists. BS!For the record, I have not been adding much music to Content ID anymore. I tested it out, but the money one can earn just does not seem worth the hassle.
I would never advise someone to “quit their day job” to write production music for a living. For a variety of reasons :
1. Streaming. At this point, we can’t 100% quantify how it will affect back end royalties. If it goes as it’s looking today, expect back end to drop to about 1% of what cable/network pay. That’s terrifying and enough to stop anyone from quitting their job in search of “pennies on the sidewalk”.
2. Production music is like the other legs of the music industry – budgets are dropping, competition is rising. The industry – although growing – is unhealthy. Not a good place to invest your time unless you are already in the thick of it and connected. There are far easier ways to earn a living.
3. Artificial Intelligence is on the horizon. There are already software music composition programs. For a lot of the placements that “library” music gets today, in the future. they will be AI pieces.
4. To touch a bit further on #2 – there is a race to the bottom. This is not good for any money making industry. It hurts everyone from the top to the bottom, but it ESPECIALLY hurts those who are just getting their breaks and starting out.
Now….
As for what I’d tell you to DO if you’re going to start doing it, and won’t take “don’t do it” for an answer…. 🙂 In no particular order :
1. Come to terms with Non-Ex and Ex paradigms in your own mind, and make your decision how to asset allocate your writing between the two. Many experienced writers (myself included) are veering away from Exclusive placements. (I’ll not clutter your thread with the reasons why here. There are other threads on this site and others that cover it nicely.) Once that is done….
2. If you write exclusive – get PAID for the buyout. Do not give it away. I won’t think of it unless I’m making $1000+ per track with expenses over the top of that. Yes, there are libraries that pay that or more. No one is going to broadcast who they are. They are all listed on this site. Well, maybe not all of them, but the ones I know are.
3. Mix up your investments – cause that’s what your music is – an investment. Write what’s popular, write what’s being used on TV and commercials, write what’s “evergreen” if it’s at all possible, write what’s in your heart, and write against what everyone else is doing. Mix it up. Do not write 500 hip hop pieces. You’ll only be competing against yourself. Write what will pay you up front, write what will generate backend.
4. Use real instruments. Don’t use the same sounds and loops everyone else is. Make yourself unique. Make it YOU.
5. Write every day. EVERY day. For 8+ hours. 12 is better. 16 and you can start gaining some traction.
6. Do not write off “dumb”, they are not paying enough non-ex libraries. These are the ones that make me the most money. Their “deals” on paper suck. The back end makes up for it. Do your homework, and your due diligence. GET CONNECTED in the industry.
7. Attend the PMA and/or other writers seminars / conventions.
8. Get your sonic game together. You have to compete. If you turn in 2D ITB mixes, you will sound like everyone else. Learn how to engineer, mix, master and BUY THE ANALOG GEAR that will take you the next level. Yes, I know everyone says that ITB is fine. Yes, I know Andrew Scheps mixes “ITB” now. Have you seen a pic of his studio. LOL It’s got enough ANALOG gear in it to choke the average size home depot. Get OUT of the box and make your mixes better. Make you music sound different.
9. Use real instruments. Did I mention that already? Whatever…. I’ll say it again if I did. Why use a shaker loop when you can grab a $10 shaker and put some life back into the music? All the real recorded instruments put LIFE back into the music. AI can’t do this. Guys in their bedroom on a laptop don’t do this. The goal is to be different than everyone else. DO IT!
10. I could keep going, but this post will probably not show up anyway cause it’s too long. 🙂 That should give you enough to think about.
Dayum. Lost another good post….. didn’t even have any swearing in it. Or any “fake” swearing. 🙂
Anyway, for those who are offended by my #8 above, who think that I’m an ancient dinosaur, here’s a pic of Andrew’s “ITB MIXING” studio.
If you want to sound different than everyone else – and you should – no better way to get then than to get OUT of your laptop…
Just saying’….
Dayum. Lost another good post…..
Looks like it made it! 🙂
Nah….I re-wrote it. 🙂 Merry Christmas Art!
Nah….I re-wrote it. ? Merry Christmas Art!
Ah bummer, sorry about that. Have a great Christmas and 2018!