How much per track for a complete buyout (incl. full artist share)

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This topic contains 20 replies, has 8 voices, and was last updated by  Art Munson 6 months, 4 weeks ago.

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  • #31389 Reply

    Kubed
    Participant

    @Happy Ears: You’re right.This new buyout & PRO free,RF library model is reaching “epidemic” proportions!

    A guy working on a,relatively new,NE library that just turned to exclusive-only,offered me a complete buyout deal for $250/per track.He said he is building a new exclusive RF library that doesn’t pay PRO money.I kindly rejected the offer,stating that most of the tracks/cues i do,exceed the $250 threshold within a year easily (be it from back end royalties or NE RF sales). It’s a terrible deal but i understand it might look appealing to a new composer that hasn’t any experience with library music and needs the money.

    #31397 Reply

    BEATSLINGER
    Participant

    It’s a terrible deal but i understand it might look appealing to a new composer that hasn’t any experience with library music and needs the money.

    I recently was approached by a company that asked me to do 250 Tracks a year for 25,000.00
    I guess to someone new in the business this would seem like a good amount; or a good opportunity.

    Let’s just say this, In “some” of the top tier libraries 25,000.00 “can” be made in sync fees alone for 1-to-2 songs in a year..

    #31399 Reply

    Kubed
    Participant

    @beatslinger: yeap,$25K for 250 tracks = $100/per track.If we’re talking about complete buyout,that’s an even worse deal than the one i was offered.

    Checking my PRO statements,RF sales and sync fees of the past 5 years,made me realize that these $100-250 buyout deals come always from desperate,opportunistic publishers.
    That’s the reality but,like Art said,it really comes down to how much does someone needs the money.

    #31402 Reply

    BEATSLINGER
    Participant

    Checking my PRO statements,RF sales and sync fees of the past 5 years,made me realize that these $100-250 buyout deals come always from desperate,opportunistic publishers.
    That’s the reality but,like Art said,it really comes down to how much does someone needs the money

    I had a post that somehow was lost, and here is a bit of it..

    1) There are really no shortcuts. What you think is getting into the industry, and making it right once you’re “inside” in actuality is “The LONGEST Route!!” It has taken me YEARS to un-do a lot of the bad deals, and bad situations I got myself into. As well, they can be harmful to your career with respect to getting into reputable & and top-tier libraries. You literally carry these mistakes around like really UGLY Luggage!!

    2) If you really believe in yourself, and the quality of your work. “You have to be FEARLESS in your approach to finding homes for your work/music”. Closed Mouth does NOT get fed!! Get in touch with everyone!! Presidents, Vice Presidents, Heads of A&R, Heads of Sync/Licensing. I mean EVERYONE. Be professional, show respect, and take rejection & Criticism Graciously!! Develop a thick skin, and keep pushing.

    3) Be prepared. Nothing worse than getting a Golden Opportunity, and not having your stuff together. The top-tier does not understand excuses; and has NO patience for explanations & whiners.

    #31403 Reply

    BEATSLINGER
    Participant

    Hi there Art. I went to the “Piles” for editing. Please release me? Thank You Sir!

    #31404 Reply

    Art Munson
    Keymaster

    I went to the “Piles” for editing. Please release me? Thank You Sir!

    You are released! 🙂

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