- February 5, 2016 at 2:12 pm #23950
I’ve been ghost writing for a composer on a major library for a while and it is time for me to shop around for a library of my own.
I would really like to pitch to top tier libraries, but always doubtful whether my stuff is good enough.
Feedback would be highly appreciated.
Maybe you feel some styles sound better than others?
Thanks in advance!
I should probably mention that most of these tracks are copyrighted and/or have been sold already, so please don’t share 😉February 5, 2016 at 5:30 pm #23953
Hey Ilia, I think your stuff is more than good enough!
Stop ghost writing on library gigs, that’s crazy 🙂
I hope you were still splitting writer’s share?February 5, 2016 at 5:41 pm #23955
I appreciate the feedback.
I was writing for an upfront fee.
Work for hire or in other words:
“I get my money and run” 🙂
I prefer this model since I get a sum of money and don’t need to worry whether the tracks will sell or not.
The downside is that since I split the fee 50/50 with what the composer gets from the library..it is way too much work for not enough money, which is why I am looking to work with libraries with no middle man…but I am trying to find the ones that give a reasonable upfront fee, which in my mind is $500 and up.February 5, 2016 at 5:59 pm #23956
Getting just half the fee and no writer’s share – geez man if I had less morals I would hire an army of composers to do just that! Sorry if this is uncomfortable, but I consider such a deal predatory and highly unethical. And sadly, unsurprising. But it is worse to hear a fellow composer doing it to another.
Whenever I’ve been lucky enough to write for a library that pays a good fee ($500 or more), the royalties have almost always eclipsed those initial fees after a couple of years. Keep in mind that the upfront money is somewhat of a sucker’s game, it keeps you in a perpetual cycle of having to churn out a lot of music because you’re getting none of the licensing (or in your unfortunate dealings, none of the royalties either).
Of course, I understand completely that upfront fees are vital for cash flow. I took mostly upfront paying deals for at least the first five years of composing full time (still got the writer’s share mind you), because even if you’re getting into the royalties and licensing side of things, that residual income takes years to develop.
There aren’t many libraries that pay $500+ per track, but the bigger ones still do. I wouldn’t recommend everyone to such libraries (who are very picky), but your music is of such a high standard that I think it’s just a matter of them hearing your work. I hesitate to mention names on this public forum but a good starting point would be West One and their associated libraries, APM and theirs, and MegaTrax.February 5, 2016 at 6:16 pm #23957
Thanks so much for the kind words, Mark!
I checked out your music (on the website) and it really means
A LOT to hear this from someone of your caliber!
Obviously (or maybe not?), writing library music is not my
dream. It is just a way to make an income, while I can develop
the general film/media scoring and other artistic sides of my musical activities.
Would you mind if I get in touch and we could chat directly?
It would be immensely helpful to get your insight regarding these things and I would really appreciate it.
Also, I feel a bit uncomfortable discussing these topics in a public forum. You never know who is watching/reading…February 5, 2016 at 6:41 pm #23958February 5, 2016 at 7:11 pm #23959
Just sent you a message.