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Hi
My production company has worked on over 35 tv shows
I am considering starting a small lisbray geared to unscripted/reality
Tv.
I have some clients that get me to write a theme credet package then they use lisbray for the rest. So I have a lot of potential clients.
What would would you like to see in a new lisbray that is not already out there now? I want to keep the production level extreamy high.
Most of the liabrsys I have heard I have not been very impressed with the quality. I want to be on the small side so that all the composes have a better chance to share in revenue.
Please give me your feed back on what you would want to see from a new start up
ThanksQuality is subjective. What exactly do your clients want? That is what I would want to provide.
What I would want is for the library to handle all of the descriptions, tagging, and all other administrative work for each batch of submissions. I don’t think composers like typing up descriptions of their music and entering all those boring tags like “happy” , “Up-beat” , “sad”…Please hire a tagger and describer, let composers focus on writing great music.
I think it makes sense that you personally hand pick a crop of guys you would want making contributions for your clients’ needs. More is not better, more is just ….well….more.
If you open the flood gates for submissions, you will have to sift through tons of stuff you may not need at all. So if I were you, I’d interview (for lack of a better word) and screen composers catalogs and personally invite them in to be contributers. That is how you will keep quality high without losing your mind having to listen to thousands of submissions.
With that said, Eclipse, How can we communicate with you? I realize you may want to be in this forum anonymously, but eventually you will need to screen some guys to see who you want to work with?
What I would want is for the library to handle all of the descriptions, tagging, and all other administrative work for each batch of submissions. I don’t think composers like typing up descriptions of their music and entering all those boring tags like “happy” , “Up-beat” , “sad”…Please hire a tagger and describer, let composers focus on writing great music.
This is a good idea or at least have a list of tags that can be checkboxed. Professional taggers and describers will do a more consistent job i think.
For a non-exclusive deal:
– 100% writer’s share
– half of any sync fee (ok with no fee for blanket license)
– quarterly updates on specific styles of music neededFor an exclusive deal:
– upfront payment
– 100% writer’s share
– 50% publisher’s share
– half of sync fees
– NO blanket licensing of exclusive music
– 5 year revision clause based on income threshold
– quarterly updates on specific styles of music needed@ Desire Inspires, I’m impressed. That’s a pretty good list from a lawyer’s perspective.
I doubt you’d get 50% of the publishing. Often in this kind of situation, the TV shows’ producers are getting 50% of the publishing, and maybe some of the writers.
I’d want to know what shows are involved…national, local, cable or internet. There’s a huge difference in backend.
I have read and signed a variety of contracts. I am no expert, but I have a general grasp on what terms are reasonable.
Half of the publisher’s share is a stretch, but it doesn’t hurt to ask.
I would also want to know if it involves US television, or international.
What I would want is for the library to handle all of the descriptions, tagging, and all other administrative work for each batch of submissions.
I thought what you’d want is $1,000 per cue upfront.
I know you said that before… 😀Absolutely! If exclusive…you gotta buy the cues! If you take ownership and copyright in perpetuity, you have to pay up!
Hey eclipse,
Please contact me personally and I can give you ton of advice in this field of reality music cues/library.
I myself own a catalog of 400 high quality tracks, specifically tailored and composed for non-scripted reality use that I can licence to you immediately.
Email: buzzfactoryofficial@gmail.comDesire_Inspires deal proposals would be perfect. But unfortunately the reality is simply different! A new upcoming company does not have the money to pay upfront fees unless it is a sub-catalogue of a big major company.
So for me a fair deal would be…..
non-exclusiv….
– 100% writers share
– 50% of all direct syncsexclusiv….
– 100% writers share
– 50% of all direct syncs
– 3 years revision clause
(if a track is not reaching a minimum income of around 300€/400 USD)
– upfront fee if a revision clause is not possibleThe most important thing for me is that a new custom library, no matter if it is production music or trailer music, needs to have customers right from the beginning.
A library must choose very cautious composers and their music.
Briefings should be thoughtful.
Let composers produce music in the style where they are best in. Of course there are some all rounders but sometimes less is more 🙂I think hiring a professional keywording service would be a great idea. As a musician it’s sometimes hard for me to write a catchy description and keyword effectively. A lot of times I have a particular “vision” of how I think the music would be used but in reality it could be better suited for something all together.
Also it would be awesome to have the music being actively pitched not just sitting in a library waiting for someone to type in a set of keywords. Maybe a live chat feature available in a music search area. Ex) search music or have an agent help.
I like the rates that Wildman has suggested, and would appreciate that the new library made sure cue sheets were filed out easily and correctly.
In a new library I would appreciate FTP bulk uploading, tiered pricing for sync fees, stats, and monthly paypal payments.
And let’s not forget importing a CSV spreadsheet of metadata.
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