- This topic has 34 replies, 8 voices, and was last updated 11 years, 1 month ago by .
-
Posts
-
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.
It’s great to create a dream list but keep in mind that a startup venture probably won’t see any significant revenue for years. So, it isn’t easy to give the composers everything they want: the ideal deal, do all the work of descriptors and tagging, etc. Not knocking it if you can do it!
The other thing to consider is just how crowded the reality TV background cue market is right now and how tight the providers of music are being squeezed. More and more they are even asked to give up some of their publishing revenue just to get the music placed. That’s a terrible practice but the problem is you’ll be competing with other players who will do anything to get their music used.
Also, I think approaching things from what COMPOSERS want as opposed to what clients want (it’s the clients who will pay your bills) might be problematic.
I may be coming off as a Debbie Downer here but MHO is this is one of the worst businesses to enter at this point in time.
That all being said, nothing would please me more than to see you get in there and succeed.
🙂I may be coming off as a Debbie Downer here but MHO is this is one of the worst businesses to enter at this point in time.
Not really. Composers worry too much.
Not really. Composers worry too much.
C’mon D_I… It’s not a matter of “worrying”. Would you start a library with no revenue coming in and pay a service to tag the composer’s tracks out of your own pocket? How much would YOU be willing to shell out before making a penny? Just things to think about.
I’m certainly not saying no one could jump in this game and make money. But whenever one considers venturing into a new business they should study current market trends, potential revenue, how many hours a week they can put into it, how soon they need to at least break even to survive, etc.
Not really. Composers worry too much.
Just the ones who, unlike you, don’t have a day job, and actually do this for a living. Sorry DI/ TW, who ever you are… playing Monday morning quaterback is easy.
A tolerance for risk is needed for any business venture.
If I read the OP correctly, he is planning on feeding music from the proposed library to the shows that he’s already working on.
Yes, you most likely end up giving a chunk to the shows’ producers. Moan moan, b#tch moan. Welcome to the real world. That’s the only incentive for the producers to use your music instead of DeWolfe, or 615 etc. Otherwise, it doesn’t matter to them.
A tolerance for risk is needed for any business venture.
When you spend most of your time doing something else, you’ve got a parachute, and your risk is minimal.
For a bunch of busy, successful guys, you sure do have a lot of time to argue on the internet.
Yes, you most likely end up giving a chunk to the shows’ producers.
The very fact that this practice is happening more and more shows what a tough market it is to compete in.
For a bunch of busy, successful guys, you sure do have a lot of time to argue on the internet.
I agree. I apologize if I ruffled any feathers. Good luck and much success to the OP!
Art, please delete any offensive comments I have made.
The very fact that this practice is happening more and more shows what a tough market it is to compete in.
I’m not sure if it reflects a tough market, or tough competitors. I think the latter.
PS…@Advice, Great Cartoon!!! 😀
PS…@Advice, Great Cartoon!!!
Very good and so true.
For my 2 cents, I think the main thing I would look for in a new library is the ability to pitch the right music to the right people and get sales.
Too many new libraries start off on the basis that they can be successful by having music in their catalogue that they consider to be of high quality and a wizzo website with flash animation and a killer search functionality and that those are the missing ingredients.
In reality, I think clients are looking for someone they can trust to provide them with music that fits their particular bill. Trust comes through evidence, which comes through experience and forms a relationship. If they can avoid having to use search engines and audition dozens of tracks, they will gladly risk the possibility that they are going to miss out on the ‘perfect’ track by letting someone else do the triage for them.
I would have no problem completing an AudioSparx-style admin process if I thought I was likely to get sales. What can get really frustrating is jumping through a load of arbitrary hoops to meet an individual’s view of what clients should be looking for, only to realise down the line that they don’t have any clients.
So I would say that having a client base to start with – you have already met my number one requirement, the other stuff is just about :benefit ratio. I hate doing 30 second edits – but if my client (i.e., the library) had a load of clients who bought 30 sec edits regularly, I might get to like them! What can be frustrating is preparing commercial cut downs to find they’re just a marketing angle whereby a library thinks they can differentiate from those who don’t – and they end up sitting and gathering dust as editors cut the full length versions themselves.
I guess having met requirement #1, #2 would be a clear brief of what you want me to write based on your knowledge of your clients. Music is a very personal thing and it’s really tough to guess the personal taste of someone you never met – not wasting my time by saying ‘just send me your best stuff’ when the client only buys emo piano tracks would be a real bonus.
What I think is good music and what you think is good music are irrelevant – all that counts is what someone will pay us for. Any working relationship where that is a mutual understanding would be utterly bazinga in my book!
Good luck!
David.
Starting a business is like commercial songwriting. Don’t write what you want to say, write what a buying audience wants to hear. So, it’s important not to start a business based on what the seller(s) wants but what buyers need and want.
Think of what you can do that’s unique and different for the music sups. What would set you apart from the rest from THEIR perspective? As I mentioned, in the cable reality TV market, competing on price may be a lost cause. It’s hard to compete price-wise with giving the production company a gratis blanket license and a share in the publishing.
- The topic ‘Starting new lisbray what would you like to see’ is closed to new replies.