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Would you consider it a no-no to share what libraries you compose for with other composers if they ask? Is that shooting yourself in the foot?
Would you consider it a no-no to share what libraries you compose for with other composers if they ask? Is that shooting yourself in the foot?
Not sure it would help much as different composers have different experiences with the same library.
Not sure it would help much as different composers have different experiences with the same library.
exactly this.
I wouldn’t do it blindly…but if I had some level of comfortable relationship with another composer I’d be more likely to share that info them. This would also include what I write and why I work with those libraries because, as Art pointed out, your mileage may vary.
As the Grinch once said: “One man’s toxic sludge is another man’s potpourri.”
i’ve always pondered upon that, but so far havent had any backlash on helping other folks out,nor would i know if it came back and bit me anyways …i’d probably draw the line if I knew the other guy is an exact clone of me (or better)…but ive never met two people who thinks, writes, and sounds exactly the same even within the same genre
well except in corporate music, if you listen to recent or best selling tracks on a popular rf site, seems like cloning is the norm, maybe even encouraged on that side of the “forest”
Publicly, I’ve learnt the hard way to limit that type of info. Privately, with friends or close acquaintances, sure! But to reinforce what’s already been mentioned – the circumstances and timing of when I started working with these libraries might be very different to what someone would experience today. A trailer library I write for went from four writers in 2012 to over 150 today, as just one example. Another was doing amazingly well for over a decade and then quite suddenly stopped getting my music used.
Most of the insecure and inexperienced composers have an issue with sharing info to libraries they are signed with…because once you’re licensing tracks, your P.R.O.’s cue sheets will divulge A LOT of information.
@Lucky S: not sure if it’s true. BMI cue sheets seem to not reveal any other information other than your own placement’s details. I know ASCAP’s cue sheets have more information than that though.
Don’t worry about it. The global contributor market is unbelievably vast. There are no secret honey-holes. Just do your work and hope for the best.
The resources, and information are out there for “anyone” to find out what Production Libraries & Companies are getting the most exposure. As well, there is literally a “Wealth of Knowledge” on a lot of libraries in the “Access Music Libraries” section here on MLR.
Are you being “Lazy & Entitled?” Not wanting to do the work, and research on your own; so you ask a TON of questions to “The Lifers” about “what Watering Hole is producing the most Fish for them?”
Here’s a Big Tip. There are “Multiple Producers” of Albums inside of the top-tier, and bigger libraries. “Just because you are striking out with one, does NOT mean to give up. Do your research and find out “Who is actually Producing Albums & Content that have Your type(s) of music”.
If You are really good at what you do, and have a great work ethic. “You can get into just about any library You want!!”
Also, getting “quality/bigger” placements, and a “STRONG Track Record” will get you to the better fishing holes. The question is “Do You have what it takes to snag the Bigger Fish?”
Trust me, if You’re on Your Job. “They get in touch with You!!”
I’ve turned some people, from this site, on to my big placement Libs.
I have not seen a drop in my placements. I believe that it comes around because other people have introduced me to productive Libs.
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