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I’ve just been offered my first library deal!
No upfront money offered. They pay 25% of all sync and mechanical licensing revenue. In addition, 50% of all direct performance revenue. And of course the 100% writers share.
25% sync seems low if I’m not receiving anything upfront. Is it possible that the 50% direct performance licensing would make up for this? I’m not as familiar with that one.
If they’re not paying you upfront, it’s an insult to ask for more than 50% of the licensing. You’re literally giving them ownership of this music for free, FOREVER.
It’s a terrible deal. Do not take that deal. If they sell a sync license for $1000 why should your cut be $250 and their cut $750? As Mark said you are giving them 75% control and ownership of your music essentially for $0 up front.
Tell them you want (For $0 up front) 60% of all sync fees, 100% writers share, In return they can publish the cues and collect 100% of the publishing performance royalties and keep 40% of the sync fees. If they want exclusive representation, The deal should be a 1 year term renewable each year.
If they want a non-exclusive deal which allows you to sell the cue elsewhere, then 50/50 across the board is fair for both sync and performance royalties.
They pay 25% of all sync and mechanical licensing revenue. In addition, 50% of all direct performance revenue. And of course the 100% writers share.
Sounds like this Library that is based in Texas, and one of the owners has the initials S.M.
If it is them, take the deal. They get a TON of work, and it will lead to bigger Libraries.
“Just my opinion”. Sometimes you have you have to play 2-3 steps ahead..
Interesting discussion. I know which library Beatslinger is referring to as well. Beatslinger: do you have material with them? How do you know if it leads to other libraries?
I suppose sometimes another library might hear your work in one place and come to you. It happened to me once but I’m yet to see how that deal turns out!
Interesting discussion. I know which library Beatslinger is referring to as well. Beatslinger: do you have material with them? How do you know if it leads to other libraries?
I am with a small but very efficient network of Composers/Writers & Producers.
Rather than go into detail about which Libraries I am in. I will say this.. “I am with several better Boutiques & High-End/Top-Tier Libraries, and have music with great agencies”, For me, each Library connection/addition has brought me further along in my career.
As well, once you get to a certain level, you pretty much know who is, and..
As for Leading to bigger & better, this is much like a game of Chess. Isn’t this whole thing about getting further along in Our Careers, and making strategic moves to do so?
I can’t think of any reason I’d recommend a library that took 75% of the licensing without paying a lot of money upfront, except if they never really licensed anything and solely focused on royalties. Even then, I’d be dubious.
I have a few tracks with them as do some of my friends. They are a very good library. I say take the deal!
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