How much $$$?

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  • #32481 Reply

    I realize not everyone will want to disclose this, but I’m curious how much you guys make from music per year? Last year I made about $5650 but I’m on a roll this year and on track to make over $10,000. That includes everything: backend, streaming, RF downloads, oddball custom composing jobs, etc etc. Yeah, not enough to live off of… but I don’t need to.

    #32486 Reply

    I am a newbie to the scene… Started making tracks and uploading to RF sites in May 2018… Finished June 2019 with about 90 tracks…

    Made around $2000 till 30th June 2019…

    Haven’t yet established relationships with backend generating libraries… Hoping to do that starting this 2nd year of my music library foray!

    I am grateful for MLR… So much wisdom and perspective… Invaluable to a noob like me.

    Cheers! 🙂

    #32489 Reply

    That’s not bad!! I don’t do much sales anymore with RF libraries except Pond5. Not sure why….

    #32494 Reply

    Yes… P5 is my principle earner as well…

    #32511 Reply

    I won’t mention what I make today, but here’s a rough estimate (give or take 20%) of what I made from library music in my first years doing it full time (sales, licensing, royalties, upfront fees):
    1) $400
    2) $1200
    3) $35,000
    4) $55,000
    5) $80,000
    6) $100,000

    I’ve been lucky – no doubt – but I think this trajectory is pretty typical if you’re able to do this full time, and are always looking to improve both the client friendliness of your music (TV, advertising), and the quality of the libraries you work with. My break in that third year was working as a contributing writer for reality TV composers, who would hire me to write dozens of tracks.

    #32512 Reply

    thanks for your openness Mark. one thing you didn’t mention is the year you started. do you think if you were a media composer starting today versus 10years ago would those numbers be achievable with exponentially more publishers and composers now working in the music production sync game competing for the same gigs?

    #32513 Reply

    Amazing! Thank you Mark!

    #32514 Reply

    The trajectory of earning of someone starting after 2015 is going to be radically different from someone who started in the early 00’s or late 90’s. Radically different.

    #32547 Reply
    Lucky S

    Mark’s income ladder is not as easily achieved in today’s licensing world for a couple of reasons… while he has worn a variety of money-generating hats in the music composing business… his bread-and-butter is trailer music. Those used to pay much higher than they do today but those were also bigger buyout deals. It (usually) did not include any back-end royalties because the buy-outs were large. Now… those same trailer buy-outs have diminished in scale, volume and revenue and now (in varying degrees) include back-end royalties (which is sort of a joke when you realize the shelf-life of film trailers!)… and “trailer music” like every other form of work in the music business is completely over-saturated with young composers living at home and willing to work for less-and-less (or nothing thus having diluted the industry run by vampires)…

    #32552 Reply
    NY Composer

    I’m also sure that when Mark started, he established relationships with Libs who pay up front or upon delivery. He may have kept these relationships going.

    I’m only aware of 2 or 3 Libs that pay up front nower days. It says a lot.

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