Royalty Free (RF), Non-Exclusive, Exclusive Library – Definitions

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  • #29199 Reply
    boinkeee2000
    Participant

    now im more confused than ever…i though theres a heiarchy to this with

    a) elite traditional libs (mostly PMA) EX/NE with upfronts,no sync split and backend,
    b) mid tier traditional libs EX/NE with no upfront, may or may not have sync split, and backend c) RF EX/NE with no upfront, add to cart/buy once, use as many times, and backend/no backend option….

    so i had this analogy of…… elite/mid tier traditional libs = brick and mortar store and RF libs = self serve vending machine…thus NE & RF are apples to oranges, and traditional & RF are apples to apples

    do i have it wrong here?

    #29201 Reply
    LAwriter
    Participant

    I have a solution….. We can no longer “categorize” a music library into a category. Each one must be taken on it’s own merits. They are all morphing too much to lump into a category.

    #29204 Reply
    Alan
    Participant

    I have a solution….. We can no longer “categorize” a music library into a category. Each one must be taken on it’s own merits. They are all morphing too much to lump into a category.

    I like that idea. I’ll add that the successful libraries I’m in seem to cater to a certain clientele. Not one size fits all music supply. This is the reason my simple brain likes to put them into boxes. And each library has their own terms with composers. Ex/Non-Ex, upfront $ or not, perpetual or term length, split percentage, re-title or not, name your own price or not, etc.

    I think MLR need a glossary of terms. I nominate Mark Petrie to write it …. anyone care to second? 😉

    Seriously, do any of you have Wikipedia knowledge? Maybe this can be updated or tweak a bit.
    https://en.wikipedia.org/wiki/Production_music

    #29213 Reply
    Mark_Petrie
    Participant

    Haha Alan! I’d love to help out. Just a bit busy at the moment.

    I think you pretty much nailed it in your long earlier post. Also, Emmett Cooke did a great job in his eBook, with his glossary.

    I’ve also noticed that libraries are blurring the lines a little, like you guys said.

    For example, some trailer music companies, once super protective of their premium catalog, are now allowing use of their music for royalty free level fees, for very limited use, like monetizing a video for $50.

    Also, more and more libraries want the music exclusively. So you can have a RF site that has learned the value of owning their catalog. A couple of years ago, a RF library that goes by the name P___ B__ was bought for mid eight figures because the entire catalog was exclusive. Owning, building up and then selling a library could be a solid business / retirement model.

    #29300 Reply
    Mark_Petrie
    Participant

    There’s a GREAT glossary, here, it’s behind a pay wall, but it’d be worth it to anyone unsure about the terminology surrounding higher end libraries, to pay a one time fee to see this article:

    https://www.soundonsound.com/music-business/all-about-library-music-part-10

    #29307 Reply
    Abby
    Guest

    so much great info on this post. I’m glad the SOS series was mentioned, I had paid for the first article and didn’t realize there was an entire series available.. going to get it now 🙂

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