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Hi all
How many sycn placements, do you or most composer get for decent and also music that is really good. I’m with one library, album not created yet, so early days. TV Spots and Trailers were talking per year. Aware it could be none or lots so looking just for a rough guide. eighty tracks.
Thanks
Hi there Vasim, I guess you could say I’m an old timer in this business. So, I know how important it is to “Not Concentrate on how many placements, but more on the how quality”.
Every time you sit, fantasize, and “Calculate how much you think You should be getting. You will not only be disappointed. You might very well become discouraged & disillusioned”.
Just write/compose great material, make music that is unique enough to make a Library/Sync say.. “Wow, that’s different, and something we currently can use”. And, forget those Tracks/Songs, and KEEP MOVING!!
Hey Beatlonge can you explain “veteran”? What kind of music have you done with how decent an income? I am trying to sus out what a long term career in this portends. Thanks, Dave
There is really no way of knowing what can/will happen.
I have been in this side of the music biz for almost 20 years, and it has changed drastically from even 2 years ago.As well, I know people that have just gotten started in the business within the last 2-to-3 years, and have already had some 6 figure years. It has a lot to do with “Your Hustle, Quality Music Output, Business Savvy, and a LOT of Luck!!”
I think though on average. The majority of Composers are not making nearly as much as the average Composer was making even 5 years ago.. I would say the average right now is no more than taking on a “Second Job, for extra income”.
“Depends heavily on The Libraries You are in, and how your deals are structured”.
I’ve signed probably hundreds of contracts over the years. Never ever, ever has anyone ever signed me as “a composer”. It’s always for the music. It’s not like an artist deal.
How long? Ha! 15 minutes to months. Maybe even a year.
re: $$$. It’s impossible to predict. As Beatslinger suggested, forget the money and concentrate on the music. If you can’t survive on it right out of the gate, you’re going to have to find another job or person to help tide you over until (or if) your licensing income comes up to speed. Of course it depends on where you live, whether or not you have a family, what your financial obligations are, etc., but it can easily take a decade. Or two…. How fast can you write top quality material?
PS – for me – in Los Angeles, having a mortgage and a family and writing my BUTT off – back in the golden years – after concentrating on writing for libraries 100% of my work schedule, it took about 7 years. A LOT of tunes in 7 years though. Over 1000, and I had a really great publisher that was getting my stuff placed weekly if not daily. (Mostly underscore not trailers or commercials)
out of all the challenges for this field…it seems like a great publisher is the most crucial and the toughest hurdle to overcome…so many duds, the only publishers most composers that i know talk about that gets them weekly/daily placements are A-list PMA libs with upfronts and excl perp terms. atm im fairly dissapointed on my outcome with mid tier, exclusive, no upfront, reversion clause libs per backend $$$…may take more than 7yrs (if ever) for me to make full time if I stick with this strat..thankfully my gigging and recording income has covered my losses….
the only publishers most composers that i know talk about that gets them weekly/daily placements are A-list PMA libs
Not for me. I’m in plenty of the AAA top tier libraries. They have not done that well for me. They have good international sub pubs, but honestly, I kinda regret signing a lot of my stuff with them.
It’s critical that your personal style, your production esthetic, your musical output, your type of music – underscore, trailer, commercial, etc, and your timing match up with the publisher you are considering.
It seems like young guys are SO excited that a library will take them on, but I say, that it’s more important that the composer JUDGE the library for worthiness. Not all are created equal, and blindly shooting for the “big guns” might be the worst strategy out there.
Quite possible.
It’s critical that your personal style, your production esthetic, your musical output, your type of music – underscore, trailer, commercial, etc, and your timing match up with the publisher you are considering.
BIG Truth!!
I literally “Plan” My Composing and Writing Schedule according to time of year, and “Hopefully” Release date/time in the year.Like, Right now, I am working on my Uptempo, and “Energy Tracks” for next years Sports Broadcasts.
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