- This topic has 20 replies, 12 voices, and was last updated 10 years, 4 months ago by .
-
Posts
-
For me, my better paying Broadcast placements of 2013 were mostly from Exclusive cues. I’m curious if others saw that happen with their portfolios as well…? Overall, exclusive tracks have also performed better for me but I was somewhat late to the game as far as NE library work, so I’m not that great of an example in terms of the trend.
Exclusive has worked the best for me.
I would like to hear some more takes on this as well. I’m mostly doing RF for now and I believe it’s starting to pick up a bit.
After several years of doing well with NEs, I just decided this year to contact and also write for Exclusives. I expect to better know my leanings in about a year.
I had a few great placements this year from a small, exclusive catalog, but they’re not ongoing. I’m seeing a pretty consistent flow of Tunesat detections from a large, formerly-non-exclusive library (with whom I still have a non-exclusive agreement). A similar number of cues in another well-known formerly-non-exclusive library (with whom I have an exclusive agreement) are showing bupkis.
For me 80% of my BMI royalties comes from tracks I submitted to libraries that were once NE, however all those libraries have now gone the exclusive route.
It’s still early to tell, but I have seen a small amount of placements on tracks I’ve submitted as Exclusive within the last couple of months.
My income breakdown is 80% exculsive libs, 10% exculsive RF libs, and 10% non ex RF libs. In all cases my exculsive tracks bring in significantly more income than my non ex tracks even on the RF market.
well, the big difference is that NE’s tend to have zero or low up-front fees, while exclusives can still command some fairly substantial sync fees.
i’m finding almost no usages of my old non-exclusive stuff. exclusive is definitely picking up. jingle punks, with whom i was formerly non-exclusive and am now exclusive (but left my older tracks as NE), isn’t doing as much for me as they have in the past. i’ve been contributing to the exclusive library since jan 2012 and have only seen one or two placements (whereas my old NE cues still get regular placements). i’m suspicious that they have now grown so big that non-staff composers are highly marginalized.
I’m about 60% exclusive, 40% non-exclusive as far as income is concerned. I’ve seen a substantial increase in usage from previously non-exclusive turned exclusive libraries. At this point, I only keep vocals songs or cues that I think would fair very well as RF as non-exclusive.
jingle punks, with whom i was formerly non-exclusive and am now exclusive (but left my older tracks as NE), isn’t doing as much for me as they have in the past. i’ve been contributing to the exclusive library since jan 2012 and have only seen one or two placements (whereas my old NE cues still get regular placements).
This is my experience as well.
I’ve seen the opposite from JP. Since going exclusive with them last year, I’ve had a sharp increase in uses for promos etc. I think it’s hard to say what’s really working. I wish there were some more specific analytics available in the J Player. Would be interesting to compare plays with NE tracks vs E…I suspect it’s not an accident that they never brought back the analytics though. 🙁
I am 100% NE. I write a niche style, and don’t want to end up with my songs collecting dust at an exclusive publisher while the publisher tells me the songs are not being placed because they are not in a current mainstream style. This approach allows me to write exactly what I want, which is what I need to do to keep this fun.
I am 100% NE. I write a niche style, and don’t want to end up with my songs collecting dust at an exclusive publisher while the publisher tells me the songs are not being placed because they are not in a current mainstream style. This approach allows me to write exactly what I want, which is what I need to do to keep this fun.
That is very awesome! Much success to you.
- You must be logged in to reply to this topic.