Not sure what to do

[Peter]

Hi Guys,

I’m a bit confused in what I am doing with the music library scene. I’m not sure my music is good enough or even suitable. I know my mastering can be a lot better and I am working on it but I’m just not sure on what to write and whether it’s good enough in the end anyway.

I suppose the only way is to now ask people to have a little listen to some of my tracks and hear some opinions. I really need direction as to whether to continue or just keep working the day job. I know this isn’t going to make me rich just some side income to help things a little 🙂

My SoundCloud

Anyways, thanks for listening to those who do.

Peter

[Greg]

Sounds all top notch to me, although I think your music isn’t as suited to the standard reality tv background genre. Sounds more cinematic to me.

Nice work.

[Peter]

Thanks Greg. Appreciate your time.

[Mark Lewis]

Sounds great!!
You’re probably not going for RF libraries but we would distribute your catalog in a hot second.

[Peter]

Hi Mark what other avenues are there? I’m way out of the top tier libraries league. I’ve heard their stuff and it’s pretty impressive. So I thought my only options are RF libraries.

Thanks for listening.

[MichaelL]

I’m way out of the top tier libraries league. I’ve heard their stuff and it’s pretty impressive. So I thought my only options are RF libraries.

To the contrary, Peter, your music is great and right in line with top-tier library quality.

Where you place it is often a matter of luck and personal choice.

1. Are you willing to sign over your copyrights for an upfront fee in the hope of a long-term return?

2. Or, are you willing to forgo the prestige of top-tier libraries, to retain your copyrights and build a long-term investment that you own — your catalog?

PS: Your music is great but “quitting the day job” is rapidly becoming a fantasy for even the most talented composers. To paraphrase Judy Collins… “I’ve seen this business from both sides now.” I would take the security, income and benefits of a day gig, if you’ve got a good one. Given the right offer, I would practice law again in a New York minute.

[Barbie]

Wow, Peter – that is GREAT music, we’d love to rep you at AudioSparx! Many MLR participants are on our site, and you can check some “Artist Testimonials” here: http://www.audiosparx.com/sa/testimony/artists.cfm

We operate several sites, so your music would also stream on many of our stations around the world (55 countries) at this site http://www.RadioSparx.com

We are very active in social media, trying to get our composers’ music out into the world and to our clients who avidly follow us, too. To consider participating, this link provides a lot of information: http://www.audiosparx.com/sa/alliance/

Thanks and hope to hear from you.
Barbie
Creative Director, AudioSparx.com

http://www.Facebook.com/AudioSparx
http://www.Twitter.com/AudioSparx

[MichaelL]

@Peter — from your website, I gather that your “day job” is working in the music business.

Are you not composing for a living? Your composing and producing skills are certainly far beyond the “hobbyist dabbling in library music” level.

My only advice would be to raise your prices. Your P5 prices are one-third to one-half what they should be!

[Peter]

Hi Michael,

No I used to work in the music industry many moons ago, now I work in IT. My plan is to slowly work my way back into it and at least let me do half and half as I’m a contractor so I can cut my hours back when music is making enough to complete the other half of my income.

Thanks for telling me about the Pond5 prices I really have no idea so that’s why I thought I’d just start asking here because I’ve been reading heaps and this community seems to be very helpful.

My biggest issue here is do you remain true to yourself and write the music you love and I know can write fairly competently or write the stuff that sells, of which there seems to be a large amount of that already.

Thank you again for your interest in helping me.

I guess I’ll just keep reading and learning and make my own mind on what’s the best possible avenue to make this change in my life. It should be an interesting journey anyways.

Peter

[MichaelL]

My biggest issue here is do you remain true to yourself and write the music you love and I know can write fairly competently or write the stuff that sells, of which there seems to be a large amount of that already.

That is a conundrum for many. Some writers are very fortunate to not have that issue. They are perfectly happy writing the “stuff that sells” and seem to have no ambitions beyond that.

One of the advantages of having a day job, especially one that’s flexible, is that it gives you the means to be true to yourself, because there’s less pressure to earn a living from just composing.

Some people on this forum complain about part-timers and “non-pros.” But, from my perspective if you’re not worried about paying all of your bills with library music, you can focus on quality rather than quantity.

With respect to prices. I’ve sold tracks on P5 for $79.95 and on AS for three times that amount. But, on several libraries, including P5, $39 to $49 seems to be the going rate for a full-length track.

With respect to money upfront exclusives vs. RF libraries, I hit sort of a tipping point this year. I released an orchestral track on RF libraries last December. Within 6 months, I earned what I would have been paid in upfront fees by a mid-tier exclusive library.

If I sold that track to a mid-tier exclusive library there’s a very good chance that I would not see any additional income from that track. But I didn’t, and it’s in my catalog and will continue to earn money for me, for years.

But, back to your question: If your job leaves you with enough time to compose, you’ve got the best of both worlds.

[abellboy]

Firstly, your stuff sounds great! 🙂

I think you do what you love. At least that’s what I do. I find that if I do what I love, it come out with decent quality, and alot of people like it and can use it and I sell ok.

When I try to do something “corporate” (whatever the hell that is) I end up not doing anything worthwhile.

I also am starting to get the impression (and I’m VERY new to this) that no matter the genre, in this business it’s also very much about QUANTITY.

I have a very flexible day gig that pays well and no kids, so I am in the position to do what I love AND crank out a lot of “product”.

Hopefully that strategy will pay off.

Just my in-experienced 2 cents.

[Peter]

It’s so good to hear you guys say things like this because after a few corporate numbers I was almost throwing up after the last hand clap and glockenspiel ting.

You’ve given me so much to think about and I really appreciate your help.

Here’s to staying true.

Peter

[MichaelL]

It’s so good to hear you guys say things like this because after a few corporate numbers I was almost throwing up after the last hand clap and glockenspiel ting.

If I’m reading you correctly, you will find a disconnect between the above statement and this…

…crank out a lot of “product”.

Unless you’re extremely gifted, it would be difficult to “crank out” music at the compositional / production level which you’ve shared on SoundCloud. And, I infer that you wouldn’t find doing so very satisfying.

So, my advice is to keep your day job and follow your passion without compromise. I know of more than one composer who has left the library business because they felt the way that you describe above (wanting to throw up) or something similar because they were not writing the music that they wanted to write.

There are plenty of composers who can blissfully crank out beats and ukulele ditties. If you’re not one of them don’t force it. You’ll be miserable. It sounds as if doing otherwise for you would be like working at McDonald’s when your passion is to be a chef.

All the best,

Michael

[Trackmaster]

My goal is to eventually work with PMAs. I work with 2 now, as well as 3 “affiliates”, whatever that means, but they don’t give anything upfront.
If I was Peter, I would approach libraries like KT, FC, Extreme, Manhattan PM, Boost, etc. Libraries that have sub publishers worldwide, and that pay upfront. That seems like the best deal, and what you have to do to make a living composing solely library music.

[MichaelL]

If I was Peter, I would approach libraries like KT, FC, Extreme, Manhattan PM, Boost, etc. Libraries that have sub publishers worldwide, and that pay upfront.

I’m in seven PMA libraries. They are great to work with. But go in with realistic expectations. There are no guarantees that the streets are paved with gold.

_Michael

[Author]

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