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I was curious if there are any composers who feel they have found and signed with the right mix of libraries for them to succeed to whatever level of income they are shooting for? and pretty much focus only on making music and feeding those libraries? Or are you constantly searching for new libraries like me? ?
Also anyone think they have found the best mix of library models?? I know that’s different for everyone but I’d like to hear any feedback. Art didn’t you mention that you are primarily RF and NE gratis JP type models? Or exclusives/non ex that get synch deals as well? im finding my PRO based income to be lowering every quarter. But I have heard others say the opposite so who knows. Obviously diversifying is the way to go but I know a composer who writes strictly for a few exclusives and does well!
Couldn’t find the link to post, but believe it or not, I’ve been checking my “publisher ” ASCAP account and wondering why I didn’t see anything , even though I know I had some interest from certain tracks. Then got a check from ASCAP , who informed me when I called that I was checking the wrong account and to check my writers account. Turns out I started placing stuff about a year ago, on several shows (needless to say I was thrilled).
In my case, One library did very well for me above all others . The second top performer was a surprise to me. But most who I submitted to got me something, which makes me want to submit to several others once again and see what happens. A technique in sales (my new day career for the last year) they call spray and pray :). I personally would be leary of counting primary on one library although honestly that one library made most of my money this year.
Interesting conversation guys. One question though. How many libraries are enough 🙂 I know that’s a multi-faceted question but how much time do you find to compose if you are uploading, describing and tagging songs all day?
I am happy with 5 libraries at the moment. I know that is not many but I can’t imagine all of the legwork, with tagging, etc on more libs.
If this were my main job, I guess it would be easier.
Daniel,
5 libraries sounds like a reasonable amount, assuming that they’re getting you placements and some income. Gotta watch the ebb & flow though as libraries that are doing great right now may not in the future. That’s where keeping tabs on the MLR and at music conferences comes in.
As for a good mix (using the 5 library model): 1 RF (20%), 3 NE (60%), 1 EX (20%)?
I know that’s a multi-faceted question but how much time do you find to compose if you are uploading, describing and tagging songs all day?
I use PTO days from work here and there to catch up on my musical stuff.
I’m in a half-dozen libraries. Two make regular sales. The rest are a waste of time. I upload to the profitable libraries and ignore the losers. I’m constantly searching for new libraries to replace my unproductive libraries. The process is painfully slow. It takes forever to see if they get results. Clearly, a lot of these libraries are not well run & don’t seem to do a lot business, regardless of their catalogues. Determining which ones are productive is the Holy Grail.
I’m in a half-dozen libraries. Two make regular sales. The rest are a waste of time. I upload to the profitable libraries and ignore the losers.
Yep, same here.
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