- December 18, 2018 at 5:37 am #31362
How much would you say that would be a fair price for a relatively new music library to pay for a complete buyout of a track / music. Meaning, once the composer submits the track and it’s accepted, it’s owned by the library with all artist and publisher’s share, in perpetuity.
Thanks!December 18, 2018 at 8:33 am #31365
once the composer submits the track and it’s accepted, it’s owned by the library with all artist and publisher’s share, in perpetuity.
Not sure what you mean by “artist’s share”? That would be a different issue. Typically a music library would/could buy out the composer and publisher’s share. Is that what you mean? Or are you saying the library would own the the rights to the song and the recording? Need a bit more clarity.December 18, 2018 at 8:45 am #31367
Hey Art, thanks for the fast reply. All of it; buyout of the artist share (they’re the publisher), and owning the rights to the song and the master.December 18, 2018 at 8:54 am #31368
All of it; buyout of the artist share (they’re the publisher), and owning the rights to the song and the master.
Personally I would never do that as you are losing the potential of that track forever. For me it would have to be a lot of money. $10k maybe. It really depends on your own circumstances. Basically, how much you need the money. What are they offering?December 18, 2018 at 11:52 am #31369
I can’t say what they’re offering as it’s not fixed yet, but I’m very certain they won’t offer anywhere near that…December 18, 2018 at 3:50 pm #31370
Big libraries pay $1000 – $2000 per track for a buy out, where they get any future sync licensing income. Composer still of course gets all their writers share of the performance royalties.
That might seem great, but I wouldn’t sign a deal like that unless you were fairly sure they wouldn’t be targeting big license fees (like sticking to TV instead of trailers), and you really needed the cash.
Most high end trailer libraries don’t pay a fee upfront to own your music, but share the licensing either 50/50 or 60/40 (in the composer’s favor). Not great, but very few trailer music publishers feel the need (see: endless flow of willing composers) to pay for the music they get to own forever.December 18, 2018 at 11:39 pm #31371
Hey Mark, thanks. What about if they’re royalty-free?December 19, 2018 at 7:49 am #31373
What about if they’re royalty-free?
Not sure anyone here would recommend doing a complete buyout with an RF library.December 19, 2018 at 8:50 am #31374
Why not?December 19, 2018 at 9:04 am #31375
Since there are many non-exclusive RF libraries to work with; you don’t need to sell your rights to participate in the model. My top selling tracks have earned thousands each in NE, RF libraries. This negates the need to sell all rights for up-front money.December 19, 2018 at 9:11 am #31376
maybe opi is referring to premiumbeats, they pay upfront rf libDecember 19, 2018 at 12:23 pm #31378
I’m not referring to PB. This is another library, exclusive, full buyout with all rights, in perpetuity.December 19, 2018 at 7:05 pm #31385
Are you implying they want all your writer’s share too?
Firstly, I’d personally NEVER sign something like that with a library. Do you realize how much one track could make you in royalties, for potentially decades? (decades might be a stretch, but if it’s a hit track, we could be talking 100s of $1000s).
If someone asked for a deal like that with me, I’d throw it back at them and offer a rate per track for $150,000. I think I’d be ok with someone claiming they wrote my music for that much money, not to mention collecting the royalties for potentially my whole life + 70 years.December 20, 2018 at 12:29 am #31386
Yes, all rights; they’re royalty-free model, though.December 20, 2018 at 8:36 pm #31387
This sounds like the new PRO free direct license (real) royalty free library model that some european companies are doing including a certain swedish company. Complete buyout and bypass any PRO. Horrible money deal and very bad for our industry!.