Submitting specific tracks to E vs NE

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  • #17916 Reply
    jazzguy07
    Participant

    Hey everyone! Thanks for all the great advice in these forums!

    I just got into library writing this past spring, and I have signed exclusive deals as well as non-exclusive (haven’t gotten into RF yet). I know that time wise I’m very much a newbie and I’m still submitting to be accepted into other libraries. I have found the most success so far from exclusive libraries especially creating custom cues for projects they are working on. I know it’s still too early for me to decide between which route will provide the most success, but does anyone have a preference between writing for exclusive vs non-exclusive?

    I’ve noticed through reading on here that industry trends have changed over the last several years with many companies that were non-exclusive beginning to focus on exclusive content.

    What are your deciding factors when you create a track if you are going to submit it to an exclusive or non-exclusive library? I realize there may not be a right or wrong answer, but it’s something I’m looking at with the tracks I’m writing. I’m currently creating about 2-3 per week, and my challenge is deciding what is the best submission route for them.

    Does anyone have a set of parameters you use in making decisions such as this? Or do you find yourself going mainly the exclusive route? I know some success depends on things that may be out of your control, but has anyone created a system that helps them determine which route to send the track to?

    Thank you for your input and suggestions!

    #17919 Reply
    Desire_Inspires
    Participant

    For exclusives, it would be better to write for whatever demand that they have. For a few exclusive libraries I work with, Inget requests for songs in certain genres or with a certain vibe. I write to those listings.

    The other songs I come up with on my own mostly go to non-exclusive companies. But even a few non-exclusive libraries have a need for certain songs at certain time points. Asking what a library needs is probably the most helpful thing for composers. Providing what is needed at the right time is helpful.

    #17980 Reply
    Musicmatters
    Participant

    I have a bad habit of wanting holding on to all the rights of tracks that i really like, self defeating in a way but has worked rather well for me, getting me same very good NE placements. If you browse through some libraries and see their best sellers, they all seem to have a commercial feel to it. Easy melodies etc. The ones with more character dont seem to do that well, thats the rule of thumb I follow. Many exclusives will give you specific instructions on what they want.

    #17982 Reply
    MichaelL
    Participant

    @Desire Inspire & @Musicmatters

    Are you talking about traditional PMA WFH exclusives, or “formerly retitle, now we want your music exclusively” exclusives? There’s a difference.

    My experience is only with the former. I’ve always been given a brief, with a least a stylistic direction, e.g. “sports music,” “quirky music”…etc.

    #17983 Reply
    Desire_Inspires
    Participant

    I am talking about both kinds of music libraries.

    #17985 Reply
    Musicmatters
    Participant

    I only have experience with the former and also some non PMA exclusives that will take exclusives on a track to track basis and not on a project basis. No experience with “Formerly retitled” yet.

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