Exclusive vs. Non-Exclusive Strategy?

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This topic contains 286 replies, has 32 voices, and was last updated by  MichaelL 4 months ago.

Viewing 15 posts - 271 through 285 (of 287 total)
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  • #30456 Reply

    BEATSLINGER
    Participant

    Hey Glen – I misspoke. You were referring to the subscription model situation not improving not the business in general. Guess I was in an encouraging mood LOL!! Please disregard my previous post.

    No Paolo, You are correct, and You have a great attitude!! I mean, so what if a Million Dollars doesn’t happen from production music. As well, what if it’s just an extra income “until this get rich quick in the production music industry scam(s) goes bust?” You are being creative, and no matter what you are “turning ideas into profit!”

    Now, here’s my take on things. I stand as proof that “real music, and real musicians WILL weather the storms!” I am also seeing that the influx of people that thought they would get rich over-night are dwindling substantially, and falling to the waste-sides in droves!!

    If you love what you’re doing, just KEEP GOING!!

    #30458 Reply

    Paolo

    thanks guys – and I’m with you both about finding new and better ways (to make money from music) and to just keep going.

    #30459 Reply

    BEATSLINGER
    Participant

    I realize I went off-topic, and so to answer the question. I myself have basically given up on Non-Exclusives, and “RF” sites. I have done a TON of research, and are now ONLY pitching to Top-Tier Libraries. Since I joined MLR last year, and did a TON of research (There are some REAL Players/Lifers here, and you have to do your reading!!) I am now in 4 Top-Tier Libraries. I have decreased my output of songs/tracks to about 40-50 a year; and are now making about 4X-to-5X the money I was making previously..

    I only have 1 slot on my “Dance Card” left, and I am aiming for Sony Extreme..

    I Apologize for naming a company. But, That’s a “real Top-Tier Library”.

    #30460 Reply

    LAwriter
    Participant

    Well, that’s one approach certainly. ^^^ And obviously working out for you. My approach is decidedly different. I’m reticent to sign any exclusive contract at this point in time – even with the top tier Libraries, and I have music in many of them.

    I’m working on one CD that will be placed in a top tier library later this summer, then I will be back to keeping my copyrights. I have found they make me less money than keeping my copyright myself. Maybe I write the wrong kind of music for them – even though they were eager and willing to pay me a LOT of money for the music I provided.

    ???

    Whatever….one thing is certain, things are changing radically over past strategies.

    #30461 Reply

    BEATSLINGER
    Participant

    If I might. People like you LAwriter, Abby, Art, Cruci, and some other “Real Players/Lifers” gave up the “true game”. Don’t just write/compose in your wheelhouse, or what you think will get the placement. Stretch into as many genres/styles as you can “authentically & genuinely do”. This is what separates the real composers from the “One Trick Ponies!!”

    Note: If you are doing Trap or EDM, and you are new to the business. You not only have an over-saturated genre/style; you as well are competing against “Lifers” who are already in place at the better Libraries. You will need to learn how to plug Library/Catalog holes, and find special niches to get in..

    #30462 Reply

    LAwriter
    Participant

    Special niches won’t pay you six figures, but they will give you longevity that having 1000 hip hop tracks won’t.

    I’m in no way as diversified as I’d like to be, but I keep getting called for a variety of things, so I keep filling those holes.

    I enjoy a wide variety of music from orchestral to EDM to americana to jazz to world musics to rock to pop to string quartets, to ambient to celtic to solo piano to…on and on. I guess it was the era I grew up in that pushed me so many directions.

    And yes, having a film scoring background FORCES you to be able to write like a chameleon.

    #30463 Reply

    Art Munson
    Keymaster

    I enjoy a wide variety of music from orchestral to EDM to americana to jazz to world musics to rock to pop to string quartets, to ambient to celtic to solo piano to…on and on. I guess it was the era I grew up in that pushed me so many directions.

    I think that those of us of a certain age, working in music for many decades, benefit from having been exposed to a lot of different music. Whether as composers, songwriters or musicians it gives us an appreciation and perspective I think is hard to come by if you are much younger.

    #30464 Reply

    MichaelL
    Participant

    And yes, having a film scoring background FORCES you to be able to write like a chameleon.

    Absolutely! Whenever people would ask me “What kind of music do you write?” I’d answer “Whatever the project needs.”

    I think that those of us of a certain age, working in music for many decades, benefit from having been exposed to a lot of different music.

    We also know that there is NO “get rich quick” path here. Anyone spreading that myth is misleading you. It takes years of hard work, constant learning, reinventing and adapting.

    I’m working on one CD that will be placed in a top tier library later this summer, then I will be back to keeping my copyrights.

    None of us can predict with certainty where this business is headed. Blockchain and other technologies have the potential to be very disruptive of the status quo. Top-tier libraries may become less relevant or irrelevant. What is certain is that if you’ve given up your copyrights you have given up your options. As long as you own your music you have the capacity to adapt it to new markets and to adjust your strategies accordingly.

    #30465 Reply

    LAwriter
    Participant

    Exactly Art. Musicians never turned down a gig because “I only play Trap music”…. We TOOK THE GIG – no matter what style. I also think music in grade school through high school really shined a light on a lot of various musical styles and opportunities.

    @michaell – can you point those of us not so informed as you to an article that shows how Blockchain might affect the production music markets? Many thanks.

    #30466 Reply

    MichaelL
    Participant

    @lawriter, Arts has shared a few articles on Facebook, maybe he can post the links here.

    Here’s a company that’s getting some attention:

    #30467 Reply

    Art Munson
    Keymaster

    Arts has shared a few articles on Facebook, maybe he can post the links here.

    Yes, I post a many articles about copyright issues, blockchain and the music companies getting into this as well various other articles of interest. You can friend me on FB or follow the MLR page on FB. It’s https://www.facebook.com/musiclibraryreport/ also Twitter https://twitter.com/musiclibraryrpt

    #30468 Reply

    LAwriter
    Participant

    MichaelL – thanks. I’ll check that out.

    Art – Some of us don’t do FB, Twitter or other social media….

    I suppose you can call me unsociable if you like. 🙂

    I’d still like to get a copy to any specific blockchain links though.

    #30473 Reply

    Art Munson
    Keymaster

    Hey LAwriter Google is your friend. 🙂 Just Google “blockchain technology music” and you will find a ton of stories on the subject.

    [Edit]

    Actually here’s the link for you https://www.google.com/search?num=100&source=hp&ei=1QpKW6zHGOeY0gLa1ZzYCw&q=blockchain+technology+music&oq=blockchain+technology+music

    #30475 Reply

    LAwriter
    Participant

    Thanks. I do know how to use google. : ) I just didn’t know exactly what I was looking for. Thanks for the link!

    #30476 Reply

    cyberk91
    Participant

    Art…LAwriter…..thanks for saying what I was thinking…lol….there’s no doubt about it..If I was a lot younger I probably wouldn’t be able to write in a lot of the genres of music there are today with any kind of passion or experience without having been exposed to a lot of different music over the decades…I’ll go out on a limb and ask…could blockchain actually be a good technology? IMHO instead of the Jurassic system we got in place now with PRO’s….I mean I hear the horror stories about cue sheets not filed and such….how much money have artist’s lost by the PRO’s unaccountability…..am I off base?

    here’s a link I thought was informative……http://www.wired.co.uk/article/blockchain-disrupting-music-mycelia

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