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To a royalty free library who may gain you a sale or two a year. Granted, definitely not the same as submitting to an exclusive, who might get anywhere from , say, $250 on up, but is it worth it to submitting to these places that maybe will net you $40 – $60 for the entire year? Personally I think I’d rather just spend that time writing music.
But Chuck, how do you know if don’t try. It took me 3 years of blind submissions to find the RF library that has become my best money maker by far.
Yes, like most I have invested many hours uploading and tagging tracks to libraries that have sold nothing and even gone out of business. There are many more that only sell a handful of tracks or TV placements a year. I stopped submitting to most of those, but I continue to submit new tracks to the ones that have the potential for an occasional decent payout. I think of them as my “scratch off lottery tickets” and they contribute to my bottom line.I do not search out new libraries to submit to anymore unless there is a great deal if positive chatter on MLR.
Question:
Have you done everything you can to streamline youer submission process to it is fast and efficient? I go through a process after I finish a track that includes making alt. mixes and a word doc that has all the info I could ever need for that track including tags, tempo, instruments etc. This makes submissions much faster because I just copy/paste needed info.hi Chuck. thankfully i can tell you my experience with RF has been much better than 1 or 2 sales a year. last year was my first year doing RF sites and in one month alone i made $220 on pond 5. that from only 10 tracks uploaded. so i would say definitely go for it with RF, it can work out as a nice little earner.
The short answer, Chuck, is yes.
It’s a mistake to assume that all music will work equally across every platform.
Working with RF libraries requires more than just uploading and hoping for the best. YOU have to sell your music. A lot depends on your own marketing skills, that is your titles, descriptions, and meta data.
In many cases, it’s also a mistake to blame the library for poor sales. To be sure, not all RF libraries are created equal. But it’s very rare for a composer to ask “what am I doing wrong?” (not saying that you’re doing anything wrong).
I’m getting ready to “curate” the tracks that I have online by revising descriptions and meta data, maybe even a few titles.
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