Exclusive vs. Non-Exclusive Strategy?

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  • #10151 Reply

    Wow, this one exploded !!! Glen/mr Composer why take such an extreme stance on this. There are many different types of non exclusive libraries out there. The ones I choose to sell from, do not sell at rock bottom prices. The ones that do , well thats their business. I am not going to start declaring that they have ruined the library business for the rest of us, thats sounds like scaremongering.

    Also your definition of music in general is very elitist, any decent composer I know doesn’t use those terms. I assume you think that Dr Dre is a “beatmaker” who pastes samples together.If you choose to dismiss an entire genre of music because ignorance, then you are very foolish indeed.

    Lets get real here, there are many terrible exclusives out there amongst the handful of good ones.If you have the luck or talent to get into a good one, good luck to you.Just because you, do does not make you a superior composer, or give you in any way the right to demean other peoples music. Have a listen to Mark Petrie or Jason Livesey’s orchestral cues, and honestly tell me that they are inferior to your own work, or any other in its genre.

    Don’t be blinkered musically and business wise while you think you are sitting on top of the pile. There is one thing for sure in this business, no one is immune from being toppled from their perch.

    Like MichaelL I am an old pro too, and embrace all the opportunities out there.

    #10155 Reply
    B Minus

    I’ve got tracks with EMI which have samples in, plenty of samples. I did a lot to change them and make the tracks interesting and engaging, but you certainly don’t have to use live instruments in all genres. You can do so much with just a computer and software. In fact almost none of my tracks with EMI uses a live instrument.

    #10157 Reply
    B Minus

    As much as some of us may dislike it, some of what mr composer says is true as well. Perhaps he sounds snobbish, but for example: Pond5 does not have the same connections at TV studios and networks that Extreme does. Not even close. That is a simple fact that results in much better (higher paying) placements for Extreme.

    #10158 Reply
    Art Munson

    The “good” music, “bad” music argument has been debated numerous times on MLR, almost from inception in 2009. Those who think they are “experts” in determining this only illuminates how clueless they really are.

    “I certainly try to funnel in some artistic and compositional”

    : Just because you think you are “artistic and compositional” does not make it so. It’s all subjective.

    Anything else is just chucking a heap of crap onto an already mountainous heap of musical dung.

    @mr.composer: Really? Another “expert” I presume.

    #10160 Reply

    Art, Like I said…I “try” to present a piece that has some unique and artistic value. I am not saying that everyone is great or even good or even average. This discussion should not be about whether or not people have the ability to create “superbly fantastic, intellectual” music only played by the most “elite” musicians in the world. It’s about respecting the time and labor that goes into a composition and making that labor worth something…and…trying to craft something good that people will like. This craft (this labor) must have a price…and $15 on an RF site is not a real price! It’s about composers not becoming free slaves to publishers and their clients. Should I just shut up and let things be as they are?…not write about it?…not express my opinion and let it get worse?…do you all really believe that we are on a path to prosperity and revenue growth for our craft and service? Is the industry going to create better opportunities and revenue and royalty growth for composers moving into the future? Or are we all just going to cave in and say “here ya go…here are all my cues for you to own and control and make money off of…please pay something in return.”

    By the way, it is my very informed and very educated opinion that exclusive music is being demanded by only the major networks in the U.S. as well as the music supervisors working on high budget films. These entities just don’t want to deal with re-titled works that are floating around on several sites. Cable stations such as MTV, VH1, History, TLC, Discovery, Bravo, A&E, Nat Geo, etc, etc…are not making demands that music be sourced from exclusive publishers. They can care less where it comes from…as long as it is free. If you feel as though your tracks are going to compete for prime time network slots…go ahead and sign away to “exclusivity” and lose control of your only asset. JP can’t compete against Extreme or DeWolfe or Hollywood composers…gee…maybe the Hipster Orchestra will get the job done…yeah…sure they will.

    #10161 Reply
    Tv composer guy

    Did anyone else notice the new listings on film music job wire? A library in Nashville is after music for pilot on ABC & also the winter Olympics coverage on NBC. Both were wanting NON EXCLUSIVE tracks for major network placements…. Nothing more needs to be said, the sky isn’t falling, major networks still use non exclusive tracks, some libraries are trying their best to dupe composers into signing their lives away.

    #10162 Reply
    Art Munson

    @Glen: I don’t have any argument about what you are saying except when the conversation turns to trying to defining “good” or “bad” music. That will always set me off.

    I for one am pretty much non-exclusive except for JP. They have done a great job placing our music (including major networks) so I don’t mind sending a few exclusives their way to see what happens. If I can get a few more into SK I will do that also. Both of those companies have contributed a lot to my income over the last few years. It’s a small risk as far as I’m concerned. Anyone else then no, unless it’s very compelling (not even sure what compelling would be!). I will stay non-exclusive as at this point it’s the only thing that makes sense.

    As far as RF sites? I think we are all feeling our way on this as to pricing. It’s a work in progress.

    #10164 Reply
    B Minus

    It seems like Glen would be best off trying to form a composers’ union, since without a doubt if we could club together we would be taken advantage of less frequently.

    But the rest sounds more like paranoia to me. There are some exclusive libraries that make massive successes out of composers: e.g. look at that MichaelL KPM video. KPM is one of those, as is Extreme (look at mr composer). It’s up to each composer what to do with their music, and surely if you feel your music is above most others’, then you will be just fine?

    Ultimately you can’t argue with the customer. If they want a $15 cue from a non exclusive and don’t like you live instrument studio produced $1,000 cue, there’s nothing you can do, except find the right market for your music.

    P.S Art – what is SK?

    #10165 Reply

    It is amusing that people find my views unpaletable. I amnot trying to provoke an argument, merely offer a different perspective. I do believe that our craft has become devalued and it seems now that everyone and their dog wants to be a library composer – but they want to do it the easy way.

    How many people nowadays go and study at a conservatoire to learn the real fundamental skills of orchestration, theory, counterpoint, arranging etc.? Not many. Moreover, people would rather go on some mickey mouse music production course.

    Maybe it’s just coincidence then that I learnt my craft thoroughly and now make good music that is in demand and I get well paid for it. My point is, and this will be the last post I make because you all must find me a little annoying, making good music – now that’s the thing. Just try and create something original and wonderful. If you concentrate on the music and imparting genuine emotion, the rewards will come because your music will have humanity and communicate with people on an emotional level.

    If your focus is on whether you only uploaded 650 tracks to a rf library this week, well then you are setting yourself up as a cheap mini mart for music, a soulless, passionless uninspired cobbled together turgid midi fest.

    Just try and make real music is all I am saying and make it for the right reasons.

    Genuinely best wishes to everyone in their endeavours,though.

    #10166 Reply
    Mark Lewis

    Ultimately you can’t argue with the customer. If they want a $15 cue from a non exclusive and don’t like you live instrument studio produced $1,000 cue, there’s nothing you can do, except find the right market for your music.

    @B Minus Truer words were never spoken.

    Glen and Mr Composer are painting everything with really broad strokes with their statements that *all* composers are taking the easy way out.
    My company represents more than 150 incredibly talented composers and none of them are loop-pasters or whatever derogatory term is being used in this thread. The music submissions I review everyday are for the most part amazing and they make me proud and more than a bit humble to be associated with these composers.
    I am astounded on a daily basis at the amount of untapped talent that is out there and that anyone from any country, any education level, any background, is now on the same level playing field as those fortunate enough to have the financial means to go to a music conservatory and get their degrees.

    Just try and create something original and wonderful. If you concentrate on the music and imparting genuine emotion, the rewards will come because your music will have humanity and communicate with people on an emotional level.

    This is very nicely said and is exactly what composers should strive for.

    if we could club together we would be taken advantage of less frequently

    I don’t understand this sentiment from composers. The “being taken advantage of” or “not being fair”.
    I mean, are music library owners breaking into your home and forcing you to upload your music into their databases? You know the business model before signing on to any library, why would you feel something is unfair or you are being taken advantage of after you chose to sign on with a company.
    What exactly is “not fair” about music libraries that you volunteer to work with?

    And the naive notion that you can get “all us composers” together and run a music library is just silly. That’s exactly what these existing libraries are, they are working composers like myself, Bjorn Lynne, Mark Petrie, etc etc, creating a space for their fellow composers to distribute their music.
    The naivety of the statement “all us composers should get together” just shows how little most composers know about the business, technical, legal and marketing side of what music libraries do.
    Even if “all us composers” got together you would still have to pay 50% of your earnings to make the venture any kind of a success.
    And if you created a system that actually did include “all us composers” it would end up being a database of millions of composers, 100’s of millions of tracks from the absolute worst to the best in quality.
    Good luck getting a client to search through that mess.

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