Submitting to exclusive libraries

[Danny]

When I send an email to an exclusive library with a demo reel linked, should the tracks that I show them be all tracks that are not signed anywhere?

In other words, would it be okay to show them tracks I already have signed with other libraries as an example of my work, or should I only show them tracks that are available to be signed exclusively by that library?

[composer]

I would send a reel of your best work, regardless of whether the tracks are signed or unsigned. Just let them know whether the tracks are available.

I send unsigned tracks if I have them and they are just strong and suitable for the pitch as my signed tracks, and I have had tracks signed from the demo.

[andrei]

hi, sorry for posting this here, but does anyone know an approximate figure of how much a track would sell if someone wanted exclusivity on it? (as i understand, an agency is interested in some tracks of mine – 7 – and would consider byuing them from this soundcheque.com site im on). im curious what is the price they generally pay…i asked soundcheque but im still waiting for an answer from them. but do you have an idea if there’s a general price for which a track would sell exclusively to some agency? (the agency will decide friday, so 2 days from now).

thanx.

[Danny]

Thanks composer. That makes sense.

One follow-up question: If I don’t have a lot of tracks that could be signed exclusively right away, would it still be okay to submit to an exclusive library on the basis that I would be providing new tracks to them moving forward? Or should I wait until I have at least a certain amount of tracks that are ready to sign before submitting? (If so, what’s a reasonable amount?)

Thanks!

[Desire_Inspires]

hi, sorry for posting this here, but does anyone know an approximate figure of how much a track would sell if someone wanted exclusivity on it?

Start at $500 per track.

[composer]

Thanks composer. That makes sense.

One follow-up question: If I don’t have a lot of tracks that could be signed exclusively right away, would it still be okay to submit to an exclusive library on the basis that I would be providing new tracks to them moving forward? Or should I wait until I have at least a certain amount of tracks that are ready to sign before submitting? (If so, what’s a reasonable amount?)

Thanks!

There are many types of deals. But it’s common for a library to commission tracks. So you can pitch yourself as a capable composer (you’ll be one of thousands!), and they can commission you to create the types of tracks they are looking for. So, you don’t necessarily need to have lots of tracks available. You need to be able to create what they want, to their specs, on their timeline.

[Mark_Petrie]

does anyone know an approximate figure of how much a track would sell if someone wanted exclusivity on it?

More and more libraries (especially new ones) won’t pay anything for music.

Especially if they are splitting the license fees with you.

However, if you don’t mind doing a work-for-hire deal (where you keep your writers royalties but give up licensing), then the rates vary from about $200 a track (for reality TV focused libraries) to $1000 for the major companies (who usually commission specific music they are looking for). I’ve even heard of one trailer focused company that pays $1500 a track (the tracks have to be trailer quality and over three minutes long).

[Desire_Inspires]

More and more libraries (especially new ones) won’t pay anything for music.

Especially if they are splitting the license fees with you.

Tell me about it. LMAO!

But that is the current state. Either get some money upfront and give up on licensing fees, or get no money upfront and split licensing fees 50/50. Changing times.

[andrei]

ok guys, thanx. (sorry for intruding)

[Author]

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