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To repeat again MA I make more from RF licenses than PRO for the tracks I have in RF libraries. Its a revenue stream for me that for the most part is aimed at the non PRO marketplace. Cant make it any clearer.
Over all my catalogue, which is diversified!!!!! I make more PRO money than RF licenses. You keep asking the same question expecting a different answer.
Its like asking Apple , “do you make more revenue out of iPhones than iMacs ?” They answer iPhone and then you reply “why are you making iMacs then ? “
ASCAP is looking for some shout outs to the Songwriter Equity Act
http://www.ascap.com/~/media/files/pdf/advocacy-legislation/sea-one-pager.pdf
The SEA is a good thing. It addresses specifically what I was discussing earlier about the CRB and rate setting. As I stated, the PMA and the PROs are fighting for alternate methods of rate setting for digital transmission …e.g. streaming.
The potential shift from broadcast to streaming represents an enourmous change that WILL drastically affect PRO dependent composers in the US, if the SEA isn’t passed.
And, yes, “More Advice” this is where having an RF catalog will act as an income safety net rather than the end of “sweet” royalties.
bump
Personally, I kind of feel like the question itself is irrelevant. It’s almost like saying what is better jingle writing, or music beds. If your making a living at either does it really matter.
Some music works better for broadcast, some music works well for non-broadcast. They are just different markets. Saying one is superior over another really just depends on what musician you ask, and how successful they are in their market.
I wouldn’t count the number of people that respond in the forums to be a judge of what is successful, or not. There is more then enough opportunity at every level of this game, and it really just depends on two things: your music and how hard you work.
I agree with a lot of the posts that you need to be fishing in a lot of different markets. Find out which markets work best for you and work hard to become successful in that market. Having multiple streams of revenue from different markets is a great way to protect yourself.
MichaelL is very correct when it comes to broadcast television making a shift to a streaming format. If anything is going to destroy that market, it is that shift. It is already happening. Most of my friends now only watch netflix and hulu (myself included). Now you are getting AppleTV, chromecast, and other streaming services coming around, and let me tell you; I wouldn’t trade my netflix subscription for a cable subscription any time soon.
[Removed. You cannot discuss specific libraries on an open forum. Please you this link or re-phrase your question https://musiclibraryreport.com/forums/forum/music-library-questions/ ]
But I have around 60 tracks out there on PRO / MCPS / PRS libraries (many as co writes too) … and haven’t had to work for another company since 2006. Have hardly written a thing since then either. Try that with RF. I’m not gloating here … I asking people to see the differences and make the right choice.
Wow, that is spectacular.
I am still working on some unique and clever music for submission to PRO / MCPS / PRS libraries. I am not sure if I will get in anytime soon, but it is definitely worth trying. It will take time.
Most libraries are PRO libraries DI.
Even if they advertise themselves as “RF” libraries they are indeed PRO libraries.
I think the terminology that is being accepted on this forum might be very confusing for newcomers. People seem to be combining PRO free and Royalty Free as meaning the same thing.
Royalty Free does not mean that you do not get PRO royalties.
If you, DI, are only working with PRO free libraries at the moment that would mean you are working just with Getty Images or Smartsound, or a couple of others.
Our site is royalty free and PRO free (has been since 1996), we facilitate direct licensing between composers and our clients, but we also send out composer PRO info when requested by the client, which I just did today and do so on a regular basis.I guess you’re assuming the quote you posted means that the person wrote 60 songs and is now set for life? That might be the case but I highly doubt it.
I guess you’re assuming the quote you posted means that the person wrote 60 songs and is now set for life? That might be the case but I highly doubt it.
I do not think Tim stated that, but he must have done something right. He seems to have made the right choice and is reaping the rewards. I want that kind of success eventually. I defer to his judgement based on his success in this instance.
So you are saying you are only dealing with PRO free libraries DI?
“I am still working on some unique and clever music for submission to PRO / MCPS / PRS libraries.”
I’m just confused about everyone’s definition of an “RF Library”.
Since most RF libraries are PRO libraries then the statement that Tim makes doesn’t really make any sense.Can you explain that to me DI? I defer to your judgement on that.
I’m just confused about everyone’s definition of an “RF Library”.
Since most RF libraries are PRO libraries then the statement that Tim makes doesn’t really make any sense.Tim probably works with well established and older UK music libraries.
Read further here: http://www.prsformusic.com/users/productionmusic/Pages/default.aspx
These libraries work within the MCPS/PRS guidelines. They all seem like excellent companies to work with!
Read further here: http://www.prsformusic.com/users/productionmusic/libraries/Pages/default.aspx
Right. But from what you say you are only working with non-PRO libraries which doesn’t sound right to me.
Tim says he is doing really well with PRO libraries but then goes on to say “Try that with RF” (most RF libraries being PRO libraries) and you say you want to get into PRO libraries.
I thought you were working with PRO based libraries already DI.Just a general question here to DI and everyone…
What is your definition of a Royalty Free Music Library?I work with PRO libraries. I just do not have any music with the UK music libraries yet. I want to work with the UK music libraries. They are tougher to get into, but seem to offer a greater return on investment than other PRO libraries.
“Just a general question here to DI and everyone…
What is your definition of a Royalty Free Music Library?”Royalty Free Music Library = Quickly knocked up loop based tracks devoid of originality, emotional content or imagination. Music made by people who think that assembling a collection of pre-made loops is composing.
Royalty Free Music Library = Quickly knocked up loop based tracks devoid of originality, emotional content or imagination. Music made by people who think that assembling a collection of pre-made loops is composing.
Perhaps thinking that way makes you feel secure. But, you are in for a wake-up call.
I’ve been working on a cue on and off for a month. Sorry no loops. No Garage Band. No bargain synth sounds. No sloppy unmastered mixes.
But,there is plenty of real composition…you know melody, harmony OMG…even counterpoint!
Full orchestra: LASS, Symphobia, SAM Classic Brass, CineBrass PRO, EWQLSO, True Strike Perc, EW Symphonic Choirs, Hollywoodwinds, CineHarp….
AND…this cue is going into RF libraries.
Why not post a link to your music, so that we can more fully understand you position?
I’ve been working on a cue on and off for a month. Sorry no loops. No Garage Band. No bargain synth sounds. No sloppy unmastered mixes.
But,there is plenty of real composition…you know melody, harmony OMG…even counterpoint!
Full orchestra: LASS, Symphobia, SAM Classic Brass, CineBrass PRO, EWQLSO, True Strike Perc, EW Symphonic Choirs, Hollywoodwinds, CineHarp….
AND…this cue is going into RF libraries.
Why not add cues like that to PMA libraries or UK exclusive libraries? You would give up the copyright, but your music would probably get used more often and make more money than most RF libraries. Doesn’t your top shelf music deserve a place with the top shelf companies?
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