Getting those Views

[Jonathan Wright]

Hello all, my first post here, I’ve done a couple of searches but couldn’t find a similar thread.

I’ve just started out in library music. At this point I’ve submitted ten tracks to 8 non-exlusive libraries. Most have been approved so far but I have a couple of questions for you experienced guys.

It’s been a couple of weeks, and I don’t appear to be getting any views, never mind purchases. I’ve worked hard on tagging and descriptions.

Is this normal due to the saturation of the market, or am I missing a trick. Or is it that I haven’t uploaded enough music yet?

My second question is about pseudonyms. Some libraries don’t want to accept tracks from composers submitting to other libraries. Are pseudonym a way to get around this, or is it considered unethical?

I realise these are newbie questions but would really appreciate your input.

Thanks.

[ChuckMott]

My take is that going non exclusive is because you can submit to other libraries. Some basically don’t want you submitting to certain other libraries as they price their tracks lower and don’t want you track in their library competing against the same (often times much) lower priced track in another library. No not unethical unless you are signing exclusive with one and then signing it with another under a pseudonym (illegal in fact since you signed a contract). You probably know the difference between exclusive and nonexclusive I’m sure but if not learn that one in a hurry.

[Advice]

Jon
If you sign a contract with a library that is exclusive or partly exclusive in that it says you can’t submit to other libraries, it ABSOLUTELY would be unethical and, more important, a **SERIOUS** contract violation if you did. You could get sued and destroy your reputation.

If you are not comfortable with the terms of an agreement, don’t sign it. Otherwise you are legally bound by it.

[MichaelL]

I’ve just started out in library music. At this point I’ve submitted ten tracks to 8 non-exlusive libraries. Most have been approved so far but I have a couple of questions for you experienced guys.

It’s been a couple of weeks, and I don’t appear to be getting any views, never mind purchases. I’ve worked hard on tagging and descriptions.

Is this normal due to the saturation of the market, or am I missing a trick. Or is it that I haven’t uploaded enough music yet?

The only thing that you’re missing is a few hundred cues. Ten cues, unfortunately won’t get you noticed.

My second question is about pseudonyms. Some libraries don’t want to accept tracks from composers submitting to other libraries. Are pseudonym a way to get around this, or is it considered unethical?

It depends. As Advice and Chuck said, this would be a contract violation, and at the very least get you dumped, if you are talking about submitting the same cues to the “banned” libraries. Some libraries, however, are OK with you submitting to lower end libraries, as long as the cues are completely different. In other words, don’t try different titles and a pseudonym to get around these limits. It wouldn’t be a good idea.

Everyone has to start somewhere, but I suggest you read all the threads that discuss how many cues it takes to make a go of this…1,000+

_Michael

[Jonathan Wright]

Thanks for the replies guys.

Just to be clear, I’d never resubmit tracks to another library if I were contracted to an exclusive library.

I guess I was trying to be clear in my mind what the best way to approach non-exclusive libraries that have these rules would be.

For instance, Library A says they won’t accept submissions from composers that submit to Library B.

Does that mean, that if I submit completely different tracks to Library A than I already have to Library B it’s okay, or do they operate a ‘blanket ban’, resulting in the need for a pseudonym?

[Jay]

Just curious, though, how do you tag and keyword your music? Could make all the difference in the world. I’d keep it simple “edgy dramatic” “dark strings” …things like that.
There are probably two people searching “Philip Glass.”
You should read the WSJ article on Jingle Punks that I just posted.
They don’t use keywords like “pizzicato” because the majority of their clients aren’t musically literate.

Cheers,
Michael

Michael where’s that article ?
JP does well for me and I really think it has a lot to do with the way they tag my stuff…some insight into what they do would be appreciated..Jay

[MichaelL]

@Jay

http://online.wsj.com/article/SB10001424127887323393804578555944104190584.html

[MichaelL]

For instance, Library A says they won’t accept submissions from composers that submit to Library B.

Does that mean, that if I submit completely different tracks to Library A than I already have to Library B it’s okay, or do they operate a ‘blanket ban’, resulting in the need for a pseudonym?

Check with the individual library. But, I think Lee from AudioSparx recently said here that it was OK, as long as it’s not the same cues.
As far as going low end with a pseudonym, that’s what I would do, but not for the purpose of getting around library rules.

[Jonathan Wright]

Thanks Michael.

Yes, I’ve already gone with a pseudonym for the low-end libraries, thought it was best.

Thanks for the advice.

[Desire_Inspires]

Everyone has to start somewhere, but I suggest you read all the threads that discuss how many cues it takes to make a go of this…1,000+

Yes. Flooding the market with quality music is the key to success. There really is no secret besides that.

[Jonathan Wright]

Fair enough.

*hops online to order coffee in bulk*

Thanks again everyone.

[Jay]

Thanks Michael..

[MichaelL]

Yes. Flooding the market with quality music is the key to success. There really is no secret besides that.

DI, I think the concept of “flooding the market” has too many negative connotations. We’re not in the business of writing hit songs that can make millions of dollars from a single work (as a general rule). In this world, we are each our own business, which is analogous to being our own store. From a practical standpoint,the more products that you have to sell, the more opportunities you have. It’s that simple.

For anyone who has grand artistic visions this sort of commodification is an anathema….the race to the bottom, yadda yadda yadda. Yet, others, who are efficient and have no pretenses to limit their potential can do well.* That’s not to say that you can produce crap, quite the opposite. But, production values, not intellectual content tend to weigh more heavily.

* And before anyone chimes in with “you’ll never get placed in a high-end UK documentary that way,” don’t choke on your tea and hyperventilate. I know. I’m addressing the broadest swath of the market, not an esoteric niche.

_Michael

[odie76]

Don’t be disappointed if you have no views on P5, by the way. I don’t think their view counter functions properly. I’m still on 0 views for all my tracks and I’ve had some sales there.

[Advice]

Jon
Sorry if I misunderstood and implied you wanted to violate contracts. I’ve read all sorts of stuff on forums over the years! 🙂

I think your question was already answered but:

Always follow contractual agreements (You know that)

When in doubt, contact the library. I was confused, for example, as to whether I could put tracks in RF Lib B while the same tracks were in RF Lib A because Lib A had some rules I wasn’t sure about. I simply contacted Lib A and they cleared it up.

I do think using a pseudonym and re-titles is a good idea in many cases as long as the purpose is not to deceive or break any contractual agreements. For example, I have tracks in conventional libraries. I placed some of the same ones in an RF library to go after a different segment of the market. However, I didn’t want a conventional library or their potential clients to suddenly see with simply Google searches, that the same tracks they are negotiating licenses for are available cheaper on an RF site. It might be tacky.

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