- September 12, 2017 at 10:13 am #28192Music1234Participant
I am advocating for “exclusive only to the TV show” world, but OK to retitle the same tracks and sell them on other “add to cart” markets, license them privately with our own contacts, or even stream albums on Spotify.
I do realize that it is completely riduculous to have music in 5 libraries that service TV broadcast, specifically TV shows and TV networks.
Again, we have 2 very different markets that do not compete nor confuse music supervisors:
1. Add to cart (AKA RF/ Direct Licensing/ the $20 to $500 and up market)
-music supervisors don’t hang out here, independent video editors do
2. Music libraries/ publishers who feed cues to TV shows (The back end scene) – This is where professional music supervisors and TV production companies like to shop.
Is anyone consistently making $500 to $1000 in back end for all tracks signed into exclusive in perpetuity for $0 advance?
@paulo…exactly…I agree…sometimes writers don’t show up and suddenly it’s magical. “Hey Guys…Non Exclusive is OK! We’re kind of desperate here!”September 12, 2017 at 11:07 am #28193DannycParticipant
exactly…I agree…sometimes writers don’t show up and suddenly it’s magical. “Hey Guys…Non Exclusive is OK! We’re kind of desperate here!”
yeah maybe so. but are all the thousands of new composers coming into the industry every year either from the music colleges around the world or hopefuls from the yellow company gonna take that chance? probably not. its hard enough to make breaks in this industry, if you have the opportunity to impress in a brief were actual music sups in TV networks will hear your music you are gonna take that opportunity whether its exclusive or not. i see it as building the CV. its like any career you have to climb the ladder.
like Alan the only exclusive briefs i now submit to are 3 year deals.September 12, 2017 at 11:08 am #28194eucaGuest
My favorite is when a cattle call goes out for a show on Netflix or Scripps network. Blows my mind when I see these!!September 12, 2017 at 11:54 am #28195Music1234Participant
I just want people to now state in this thread their earnings from cattle call briefs. When I submitted to cattle call opps…My tracks did place…and some good one’s would hit too, such as ABC, CBS, or NBC network plays, but again, the performance royalties these placements earned does not justify doing it for $0 in perpetuity, not even for tying it up for 3 years, because the 3 years of “add to cart buy now” sites may also bring in $500- 1K and faster too.
Have any of you written for a cattle call then seen $500 or more from the TV show placement? I am not talking about demos for TV spots, I am specifically talking about briefs for new TV shows in production or new sports seasons or special events shows. Background TV cue opportunities.
@EUCA …yeah the Netflix and Scripps shout outs are just unbelievable… Big 10 Network is a huge disappointment too. BTN is supposedly being looked at by ASCAP. Does Anyone have news on BTN?September 12, 2017 at 1:27 pm #28196BEATSLINGERParticipant
Hello to all. This is a great thread!! I though am not so sure about all the pessimistic viewing of the current state of this industry; or the hopeless doom and gloom. Some of us have had to survive, and adapt through several twists & turns of this “Idiotic business called sound”.
* I agree with diversifying how your tracks are being exploited, and see what ways are working best for you. For some, RF Libraries seem to be working. For some NE is working; and some are having success in combination of having a handful (or two) of Exclusive Libraries thrown in.
* If this is something that you really want to do because you love music, and hope to make a living at this. I say keep doing it, and adjust your business to suit your personal needs.
* Work towards thinking clearly, and pragmatically about each move. Do a lot of research, and implement/Formulate a strategic plan. Hasty moves are setbacks!
* You are only as good as your product. You are not in competition with anyone except yourself. Keep raising your bar, and work towards ONLY submitting Quality pieces of material that you would be proud of!!
As far as quality vs quantity. When I first got into this side of the industry about 12 years ago. I was working with a “Entertainment Consultant” that had me signing a TON of exclusives. I did HUNDREDS of Tracks/Cues within a 2 year period, and saw ZERO money.
After re-grouping, and re-evaluating what I needed from music to consider it even worth my time. I decided to put “Themed CD’s” together and shop them to exclusives.
From March 2016 to August 2017: One CD alone (15 songs) that I did for a “Non A List Exclusive Library” has received over 900 TV, and Film placements.
This is just to say that maybe for some a 1000 Tracks was not enough. I still feel in my heart that it is about having great quality over quantity.September 12, 2017 at 2:59 pm #28197DannycParticipant
great post Beatslinger. thank you for sharing your positive experience.
btw what was the theme of the album of 15 songs?September 12, 2017 at 3:24 pm #28198BEATSLINGERParticipant
Hello there DannyC. There are actually several “CD’s” that I have put together. I go for “Themes” that either create a lane, or put a unique spin on a specific genre of music. I have noticed that certain styles of music are not being represented in popular music form. I simply put a new spin on it while keeping the original essence.
Let your mind wander freely, and remember this.. “Once You know music, and how it works; your ideas are LIMITLESS. What ever your mind can dream up YOU can achieve with a little ingenuity; and a DYNAMITE MIX!!”October 30, 2018 at 3:09 pm #31144ulrichellisonParticipant
thanks for the great insights! It seems to me that just like in the “regular” music business, the necessity to adapt and foresee market developments is what makes a successful music industry professional. Or like Bruce Lee would say: Be Like Water!
I’m very new to this business, but I recently exclusively signed 21 of my first 80 tracks to 3 libraries where I had developed a personal relationship. I also had to turn down 1 track offer by a non-ex because I don’t agree with their wording of a non-ex deal/retitling that still claims some sort of exclusivity to my album artist track, especially if audio content recognition will advance at some point like it can be expected to.
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