How many Non-Exclusive deals for the same tracks is too many?

[Livenote]

Hey all, I am planning on uploading and submitting to several non-exclusive libraries. I am just wondering what the cons are with uploading the same tracks to too many non-exclusives that are going to re-title your music every which way. I mean, why not sign over the same tracks to 40 libraries ! Of course there is the problem of Music Supervisors getting the same music over and over, but is this the only valid reason? And how are you supposed to know which libraries are going to be pitching to the same networks?

For some reason it doesn’t sit well with me, especially with the way things are changing in the industry and TV Networks beginning to only accept exclusive music. And then there’s Content ID tracking becoming more and more ubiquitous which PRO’s will eventually adopt completely I think (OK it could be a while). I have heard some composers signing tracks to non-exclusive libraries, but not signing them anywhere else to future proof themselves and for various other reasons. Any thoughts?

[Chuck Mott]

For what it’s worth, I think Emmett Cook suggested in his book, for starters shooting for 100 tracks in 20 libraries within 2 years. That’s all I got, sorry….

[Livenote]

Hey Chuck thanks for the response. Emmett is very knowledgeable and his book is great. His advice is definitely solid in terms of getting started. I’m pretty sure he’s referring to mostly RF Libraries which aren’t necessarily aimed toward TV Networks and Music Supervisors.

My question is mainly relating to libraries like CM or JP etc. who are pushing their library to TV Networks. Now these libraries are asking composers to sign over exclusively and I see it happening more and more with other libraries. Obviously there’s a shift happening in the licensing industry.

I’m surprised no one else has responded, I thought this would be a hot topic! I know there’s no clear cut answer, I was just looking for opinions from experienced production music composers who might have some insight into how things are changing…

Anyone else care to throw in their 2 cents?

[Art Munson]

that are going to re-title your music every which way.

They generally don’t do that now. What’s been slowly happening is that many libraries are pre-pending or appending a code to the title. That would help music supervisors identify similar titles.

how are you supposed to know which libraries are going to be pitching to the same networks?

You don’t.

I think you will find that it’s exhausting submitting to a lot of different libraries and you will also find that many of them are not very effective. Initially you will probably have to submit to many, find the ones that work the best for you and stick with those.

And as MichaelL has pointed out, “it’s a marathon not a sprint!”.

[tricklefeed]

Yes Art, that’s what I’ve found. Some bare fruit and others wither and fail. I’ve found pro payments falling a bit but some increase in licensing fees to make up for it. Not sure what other options there are left on TV for Non-ex tracks since JP & SK went more exclusive. Submitted some exclusive tracks a bit back, just got to wait and see if they yield any results on the Pro side.

[Desire_Inspires]

As many as possible, until you find the ones that get steady placements for you.

[Author]

Posts