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I was curious how many of you have decided to abandon the PRO back end only driven (JP) libraries? Or do you still embrace them and send all your cues since its NE and sometimes you land a decent placement? I’m on the fence because I’ve had a few placements from libraries like this that added up over time. But for the most part I would have made more money selling each of those tracks for $40 on a RF site. For now I’m doing both but starting to question if it’s worth all the time with meta data and uploading for only back end performance royalties. more often than not in my experience they turn out to be chump change, while these libraries are collecting blanket fees and not sharing with the artist. But then again I’ve had a handful that brought in a few hundred each in royalties. But many more that probably netted me around $2
I’ve been sending tracks to RF and back-end only libraries equally for about 5 years, and 75% of my music income still comes from back-end royalties. (JP) being my main income producer.
I get between $30- $80 monthly from RF libraries and I’ve gotten a few nice checks (over $500) for sync from NE libraries.
I know for some composers, it’s the other way around. They make most of their money for RF sales. But that just hasn’t been the case for me.
I’ve been sending tracks to RF and back-end only libraries equally for about 5 years, and 75% of my music income still comes from back-end royalties. (JP) being my main income producer.
Same here.
My income is split about evenly between RF and PRO. After 6 years the RF income is leveling off while thePRO income steadily increases. I expect my PRO income to level off this year since JP has gone exclusive and they account for at least 75% of my PRO income.
Now that many back-end only libraries (JP) are moving to the exclusive model, how do you divide your tracks?
Interesting. And that’s encouraging to hear actually. Can I ask roughly how many NE and RF libraries do you usually send tracks to?
2-3 of each.
As far as number of tracks? Probably only 40 or 50, at most, per year. I’m way past busting my gut on this!
no RFs (yet)- I vary between two to three non-excl and as of last year one to two APM excl.
Right now, I’m writing around 40 tracks/yr w/ additional 40-60 enhanced alts – which have been getting as much play as the main vers).
1/3 tracks for ex and 2/3 for non-ex. It’s been working out 🙂
Is the trend still for NE’s eventually to move to exclusive? I just started getting placements like a year ago, but I have to say, in that small time frame, exclusive libraries are way outperforming NE’s I’m in in numbers of placements.
When JP went exclusive, I joined them right away because they had already placed so many of my songs. So what I do is write about 5 tracks for them each month ( I would do more but they only allow up to 10 uploads including alt mixes).
I’ll write another 7 to 10 tracks a month which I submit to about 5 NE libraries. Currently I only work with one RF library and will submit some of those same tracks to them.
If a library emails me about something they’re looking for in particular, I’ll usually drop everything and try to get them as many songs as I can.
I’ve been trying to decide whether to keep sending my tracks to 4 or 5 NE and RF or just send to one UK EX that is connected with APM.
I would do all of the above. In today’s music business you can’t rely on just one outlet.
Since I started around 2 1/2 years ago, RF income has far, far outweighed PRO income.
On a side note, I wish forums like this allowed us to display the genres of music we generally compose for.
It would be really helpful when reading comments like ‘This library is amazing, I’ve earned a lot with them!’.
The member could compose heavy metal, orchestral trailers, EDM or anything and it would be great to have a point of reference for the comment.