Copyright Violation, AdRev, YouTube Content ID

Home Forums Copyright Questions Copyright Violation, AdRev, YouTube Content ID

Viewing 10 posts - 161 through 170 (of 191 total)
  • Author
    Posts
  • #23035 Reply
    Paolo
    Guest

    this thread keeps getting better.


    @Michaell

    I would divide my work into three, maybe four blocks.

    Michael, you got me curious 🙂 Yuo mentioned you would pursue three or four blocks. What would be your fourth block?

    @ComposerJ

    I also want to add that I have minimal experience with more high-end libraries, but I would love to know more.

    I recently went to a PMA “meet and greet” and meet a bunch of nice folks there. Two composers I spoke with work with a high-end library (can I say Megatrax?). They said they get $1,000 upfront and backend royalties – no sync. They said the company was great to work with and they welcomed the work which fills-in their other composing gigs- which has dropped-off.

    #23036 Reply
    Composer J
    Guest

    Two composers I spoke with work with a high-end library (can I say Megatrax?). They said they get $1,000 upfront and backend royalties – no sync. They said the company was great to work with and they welcomed the work which fills-in their other composing gigs- which has dropped-off.

    Thanks Paolo!

    So this would be an exclusive library where you get $1,000 for each submission right when you submit? Can you submit a track per day or is there a limit?

    I have limited experience with PRO royalties, is there a typical sum over 5 years? I have only seen pretty meaningless royalties so far…

    Knowing what you get is great in one way, but I kind of like the idea that a track can take off and keep making money for years. I have done other work where I first got paid on clicks alone, and later had the contract changed to get money upfront (good money). I liked working for clicks as that was more exciting and it didn’t feel I was working for the money.

    My most profitable library track has earned me around $13,500 to date (which means licensed for around $28,000), and it continues to sell every week, usually giving me $3-400 a month. This is all from the cheaper sites + AdRev (AdRev is $360 out of the 13,5k).

    Of course, most tracks earn much less than this, but I like the idea of a track taking off and getting a life of its own, many years after I made it.

    #23037 Reply
    Art Munson
    Keymaster

    Thanks Composer J you got me to thinking about exploring some new avenues.

    Why is JP #3, you may ask? Because you have to wait for the money on the backend. If you can build up a base income on the front end it will help to pay your bills while you wait for backend income.

    After a number of years in the RF market I’m still waiting for that “base income”. For me, P5 is the only library that consistently sells well and yes I listen to the best sellers and try to write to the market. Still, my best sellers are not the mainstream of P5.

    After all of these years backend monies still accounts for 75% of my music income.

    BTW, I may spin this hi-jacked thread off to a new topic. 🙂

    #23038 Reply
    MichaelL
    Participant

    Hi, Paolo!

    The 4th block would be high-end WFH / PMA libraries. I’ve done WFH before (years actually). I’m trying different things now to create other revenue streams. If, and when, I have the time, as well as a base of other income, I’d gladly pursue that again.

    Cheers,

    Michael

    #23040 Reply
    MichaelL
    Participant

    After a number of years in the RF market I’m still waiting for that “base income”. For me, P5 is the only library that consistently sells well and yes I listen to the best sellers and try to write to the market. Still, my best sellers are not the mainstream of P5.

    This is why I always say that everyone one is coming from a different place. I already had significant backend income from TV (not from libraries), so looked to RF to branch out with what I’ll call the less than “prime time” part of my catalog — more geared toward documentaries and corporate clients.

    My path is personal, based on what I’ve already done, my existing catalog, and what interests me. At the moment, TV cues don’t really interest me.

    #23042 Reply
    Composer J
    Guest

    I already had significant backend income from TV (not from libraries), so looked to RF to branch out with what I’ll call the less than “prime time” part of my catalog — more geared toward documentaries and corporate clients.

    Yup, everyone is definitely coming from different places!

    I have very little experience with backend PRO royalties, although I’ve had some stuff placed in Storage Wars Canada, Deadliest Catch and a few other shows. After two years I haven’t seen much from that though, maybe someone forgot to hand in the correct cue sheets…

    My journey has almost to 100% been RF libraries, and I only started in 2012 with amateurish productions and not too much time spent. I’ve had no contacts in the business, it has purely been “find library, sign up, write music, upload, sell”.

    In 2013 I felt I was getting more serious and devoted much more time. My productions sound much, much better but I still have lots to learn. Today I get a good income (more than an average college graduate job in the most expensive countries), mostly from (many, many small) synch fees but also, as stated before, from YouTube royalties.

    I know that in the RF world alone some of the best are making around $30,000 per month just from RF licenses. They probably make much more on the side from other projects using their talents.

    I have absolutely no idea how much successful TV (backend) writers can make from backend royalties today. Can you give me a hint? Do they struggle to make a living or is it enough for a Malibu home like in Two And A Half Men or is that a Hollywood scenario based on writers from the 90s when not everyone had a home studio?

    #23053 Reply
    Paolo
    Guest

    I’m a little late with this – kept getting error messages when trying to post this.


    @Composer
    J

    So this would be an exclusive library where you get $1,000 for each submission right when you submit? Can you submit a track per day or is there a limit?

    First I have a correction to make. Now I remember that one composer was with Mega and the other with another biggie – I think it was Killer. They said they get approached a few times a year to write a CD. Then they’re paid $1,000 for each track on the CD.

    I have limited experience with PRO royalties, is there a typical sum over 5 years?

    This depends on where the music is placed. An example – I placed a track in an Internet political ad that paid a few hundred in sync but got no backend. On the other hand, I placed a track in the Masters Golf Tounrament, which eventually started getting used in various CBS sports shows – no sync but the backend has been paying well (way beyond the cable shows) for the last 5 years. And when that same track gets aired in primetime – NFL playoffs – the backend jumps.

    @artmunson

    Thanks Composer J you got me to thinking about exploring some new avenues.

    Art, same with me.


    @Michael
    L

    Hey Michael L ! 🙂

    The 4th block would be high-end WFH / PMA libraries

    Is this 4th block off your radar for now because it would mean exclusivity? Where as with your other three blocks, you can move your tracks around and strategize on your terms?

    I’ve got another thing to ask – but I’ll ask later on in a new topic rather than egregiously highjacking this thread 🙂

    #23059 Reply
    Vlad
    Participant

    @ Composer J, reading some of your opinions surely has me re-planning my approach to all of this. Thanks for your insight.

    @ MichaelL, I don’t always agree with or like everything you state on these forums, but you surely do know what this whole thing is about. Thanks for your insight as well. And none of my business, but I am terribly curious: since you are a lawyer (and presumably make enough to live off of), why would you bother with the bs of music licensing? (and I am aware that you started out doing the music thing). Just curious, no answer needed if it isn’t a comfortable subject…. If you prefer, you could just comment on how bad my sentence structure and grammar are!

    #23063 Reply
    MichaelL
    Participant

    @ MichaelL, I don’t always agree with or like everything you state on these forums,

    No worries Vlad. You may have noticed, that I’ve more or less retired from the advice business.

    My situation is unique to me. No one can recreate the circumstances, opportunities, or state of the industry that I experienced.

    A very large percentage of the discussion here revolves around broadcast-oriented libraries. I’m not involved there so have nothing to contribute.

    My opinions regarding RF libraries are based upon who I believe to be the most likely RF client base, my existing catalog, and my previous positive experience with RF libraries.

    So, I’ve come to realize most what I have to say, probably doesn’t apply to anyone else.

    As Art has said, it’s not “one size fits all.”

    Cheers,

    Michael

    #23064 Reply
    Vlad
    Guest

    Hi Michael,

    Thanks for sharing that glimpse into your life. That is a crazy story and surely everyone has a good dose of experiences behind them, so there is no one way to skin this. I have always earned my living as a full time musician, but only involved in production music since 2009. The ‘bs’ that is bothering me is the feeling that the landscape changed under my feet between 2010 and now. Libraries that were making a killing for me dried up a bunch. As my production skills and writing have gotten better, it seems that my income became inversely proportionate to that…strangely. In addition, throwing exclusives at publishers that may let your track sit for eternity seems common place. Didn’t mean for this to be a therapy session. It’s music or bust for me, as that is what I love.

Viewing 10 posts - 161 through 170 (of 191 total)
Reply To: Reply #19998 in Copyright Violation, AdRev, YouTube Content ID
Your information: