Questioning the rise of the Album Factory Library

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This topic contains 9 replies, has 6 voices, and was last updated by  Youngrichyrich 3 months ago.

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  • #32618 Reply

    Atmos_Analog
    Participant

    I’ve been in contact with what I call the ‘album factory library’ which is made up of one charismatic composer who project-manages a group of composers to execute multiple albums with distribution in a larger library.

    Many feed into top-tier libraries, the obvious draw being the global distribution and the inclusion in their catalog.

    In my research, composer deals were identical (no $ up front, 50/50, exclusive, in perp). The music quality is expected to compete at the highest level.

    – As a composer, is the inclusion in a top-tier library in this way worth it?

    – Are top-tiers relaying to the smaller libraries what their clients are asking for? (meaning, are the smaller libraries able to build relationships with showrunners if their music is being used?)

    – I’m curious about how a top-tier library chooses tracks for their clients. Is there a priority for their own in-house label(s)?

    Would love to understand how a top-tier lib works from the inside… and if this kind of opportunity has any real value for a composer.

    Atmos

    #32619 Reply

    Art Munson
    Keymaster

    bump

    #32620 Reply

    BEATSLINGER
    Participant

    I’ve been in contact with what I call the ‘album factory library’ which is made up of one charismatic composer who project-manages a group of composers to execute multiple albums with distribution in a larger library.

    If the Charismatic Composer’s initials are T.F, or R.N

    These 2 (separate companies) Are BEASTS!!

    I Haven’t seen this type of hustle & drive in YEARS!!

    If it is them, I can say this. I see them ALL over the place, and their writing/composing pool are talented!

    As well, they apparently are doing fair deals/good business, because I see the same composers/writers working for them time after time.

    Also, I on a much smaller level have been “mentoring” some up-and-coming Composers/Writers; and have been attaching them to some of my projects. The benefit for them is locking in to reputable companies, and getting some “credits” that they can show to other companies.

    Being honest, does it really matter how you get to the majors if you have not been taken advantage of?

    Credits are credits.

    #32621 Reply

    Atmos_Analog
    Participant

    Thanks for your response Beatslinger.

    Good perspective on getting to the majors. I’m starting to see this as a valid path and a risk worth taking. I would certainly have to raise my game for it and there is much to learn and improve on.

    That’s amazing that you’re doing some mentoring. There’s nothing better than being able to have someone guide you through in the beginning and get some credits. Inspiring.

    FYI…the initials you mentioned are not the ones of the folks I’ve been in contact with, but I have been very impressed with who I’m talking to. All have serious hustle, are dominating niche genres, have great branding and very high standards….everything to the nth degree.

    Could this influx of companies mean that the music in the top-tiers are aging and they need to replace a serious chunk of older material with new, shiny stuff?

    A

    #32628 Reply

    BEATSLINGER
    Participant

    Could this influx of companies mean that the music in the top-tiers are aging and they need to replace a serious chunk of older material with new, shiny stuff?

    It is not a matter of “aging”, because there is always a “need” for every style & every period of music. The Top-Tier have great relationships, and they need to keep suppling their customers/clients with new material.
    As well, New Shows, New Content, New Campaigns & Branding that need something fresh.

    I personally have material that gets used year after year, so it’s not a matter of “aging”.

    I would say this though. There seems to be quite a few composers/writers that have passed recently, and the show must go on..

    #32633 Reply

    NY Composer
    Participant

    Sounds like BK to me.

    #32665 Reply

    Arcana
    Participant

    If the Charismatic Composer’s initials are T.F, or R.N

    These 2 (separate companies) Are BEASTS!!

    I Haven’t seen this type of hustle & drive in YEARS!!

    If it is them, I can say this. I see them ALL over the place, and their writing/composing pool are talented!

    Does the N in R. N. sound a bit South American by any chance?

    If yes, he has shown interest in my latest album. But, I was slightly disappointed by the fact that there’s no upfront money. But that shouldn’t be a concern in your opinion then as I’d make that up in the back end?

    #32666 Reply

    BEATSLINGER
    Participant

    Does the N in R. N. sound a bit South American by any chance?

    If yes, he has shown interest in my latest album. But, I was slightly disappointed by the fact that there’s no upfront money. But that shouldn’t be a concern in your opinion then as I’d make that up in the back end?

    Yes, it does. Not knowing the situation, or knowing your music. I would say this. The person that I am thinking of is “Highly Respected”, and has “a couple/few” brand new ventures with a couple of the top 5 companies. This R.N? His People Eat Well!!

    #32668 Reply

    Arcana
    Participant

    Yes, I believe he checks those boxes.

    Maybe I’ll finally get somewhere in this business 😀

    #32672 Reply

    Youngrichyrich

    Ahhh RN, yes. He’s good.

    Who is this TF guy? Is he a young cat?

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