Question about separate catalogs

[Danny]

Hello friends,

I have been starting into the library world for about a year now. I’m still building up my catalog and starting to see some licenses here and there, but mostly smaller fees and nothing for broadcast yet, so no royalties yet. But I understand this is a marathon, not a sprint, so I’m trying to think ahead to best position myself to be successful.

I understand the need for having separate catalogs for different types of libraries, and when it comes to exclusive vs. non-exclusive, this takes care of itself.

My question is: Is it a good idea to split up your non-exclusive tracks between libraries?

Currently, I am submitting all of my non-exclusive tracks to all non-exclusive libraries I am in. In Emmett’s book, he describes the differences between RF libraries and mid-range needle-drop libraries. Would it be smarter to send my RF-style tracks to the RF-style libraries and the more broadcast-style tracks to the needle-drop libraries?

Advice is much appreciated!

[Art Munson]

Would it be smarter to send my RF-style tracks to the RF-style libraries and the more broadcast-style tracks to the needle-drop libraries?

I don’t separate but I’m sure there are plenty who will disagree with me. 🙂

[Desire_Inspires]

Honestly, splitting up music is more of a headache.

When I was new to the music licensing world, I tried all of those experiments and failed at most of them. For me now, I only submit to libraries that have music that is similar to what I produce.

I work in a few genres and really do not feel the need to branch out. I work on incorporationg outside elements into what I do. That is what differentiates my music from a lot of the other music out there in the same genre.

For instance, I know that I am not proficient enough to make orchestral music. But I can incoroporate string, cellos, or violas into an electronic song. I do not make country music, but I can add a banjo or harmonica groove into a hip-hop track.

I think that listening to what music a library has is the most helpful thing you can do. Some libraries do not branch out and only are successful at a few genres or styles of music.

Listening to what you make and submitting to the companies that work with your style is the best thing. It saves a great deal of time.

[Danny]

Thanks for the input!

That brought up another question: What if some of the libraries I’m in do not license as much of the styles I write in — Should I stop submitting new tracks to those libraries?

[Desire_Inspires]

Thanks for the input!

That brought up another question: What if some of the libraries I’m in do not license as much of the styles I write in — Should I stop submitting new tracks to those libraries?

I would say yes. Focus on the libraries that work best for you. I have learned to focus on my strengths and not worry about what I am not good at. That has helped me to make more money from the songs I have already made.

[MichaelL]

That brought up another question: What if some of the libraries I’m in do not license as much of the styles I write in — Should I stop submitting new tracks to those libraries?

Why would you submit to libraries that don’t license your styles very much…on the chance that you’ll get a few licenses?

That is really my point when I talk about separate catalogs. Not every library serves every client, and different clients have different musical needs.

Am I going to waste my time submitting historic period cues to JP, etc? No, it’s not their strength.

Will I market those cues through RF libraries? Yes…where I’ve succesfully licensed them to documentary filmmakers.

It’s about connecting your music with the people who are most likely to use it. For me, the best platform to do that is RF libraries.

For more TV friendly cues, I go a different route.

It comes down to knowing what the purpose of your music is.
What do you write?

[Chuck Mott]

In a perfect world, I would belong to libraries with a good record of placements that primarily let me know via briefs what they wanted. I do that with one library that is very specific in their briefs about what they are looking for. In my world where I write to briefs, I would spend my time writing to those briefs and the rest of my time writing corporate sounding stuff for the RF libraries. As you probably already know, you can listen to some libraries best sellers and write to those libraries in that style. But use it to inspire your own creativity, don’t blatantly knock off another track.

[Chuck Mott]

I have a difficult time oftentimes hearing the difference because I hear a lot of music that could work well in both worlds. Could my Explosions In The Sky style underscore work in both worlds – I’m thinking maybe it could. So to my ears then the line then gets blurry….

[Danny]

Why would you submit to libraries that don’t license your styles very much…on the chance that you’ll get a few licenses?

I definitely agree with this sentiment. For the future, I will be evaluating what styles they do best a lot more closely. Not that I didn’t do this before, but I will do it even more. I know the libraries I’m currently in do license the styles I write in, but maybe some are not their strength.

It comes down to knowing what the purpose of your music is.
What do you write?

The styles I get the most satisfaction out of writing are the more cinematic cues — from epic action to more solemn dramatic, often with hybrid elements. I also enjoy writing hard rock tunes and those happy commercial-type tracks. I’ve tried my hand at other styles, but those are the ones I would like to focus on.

The latter styles all seem to do well in the RF model, but the cinematic stuff not so much. I’ve started sending a few of my better cinematic tracks to some exclusives, but haven’t gotten any bites yet. I guess it’s still early in the game, as I only have a handful of those out there.

As you probably already know, you can listen to some libraries best sellers and write to those libraries in that style. But use it to inspire your own creativity, don’t blatantly knock off another track.

I’ve started trying this, so we’ll see how it goes. I actually like doing this sort of thing, as long as it’s genres that suit my writing style. For example, I don’t much enjoy trying to do those U2/Coldplay-style tracks, but I don’t mind at all the happy TV commercial-style stuff.

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