Tagged: Exclusive vs Non-Exclusive
- May 9, 2013 at 1:13 am #9830maxpowerParticipant
I was directed to this site by a library I contacted a couple of days ago. It’s $199 to subscribe annually. Anyone had any experience with it? Any successes?May 9, 2013 at 2:29 am #9831Mark_PetrieParticipant
Sounds like it might be useful, especially if they’re keeping the info current. There are plenty of other places to get that, but it’d save you a lot of time to have it all in one place.
I saw this graphic a few months ago that they made:
It looks really nice but I have no idea where they got their stats from, including this:
‘Getty Images owned “Pump Audio” platform take the highest commission from fees at 65% and are the only company that take more than the artist’s share’
…. yeah right! Maybe they should spend some time on the MLR. : )
And how could they know that ‘40%’ of music licensing companies retitle tracks?May 9, 2013 at 6:20 am #9832MichaelLParticipant
But wait…they do say the licensing is the “fast and easy way to make money with your music.” So, they must know what they’re talking about. 😆May 9, 2013 at 8:22 am #9833woodsdenisParticipant
And how could they know that ‘40%’ of music licensing companies retitle tracks?
That actually could be the case, it doesn’t mean that 40% of licensed tracks are retitled.
There are loads of retitling libraries out there who do little or no business with a smaller amount of exclusives doing a lot. We will never now the split in revenue between exclusive/non etc either I dont think.May 10, 2013 at 5:20 am #9834AdviceParticipant
They want $199 (the 50% 0ff sale price!) for their directory. I can’t imagine this information is worth anywhere near that much. There are directories out there MUCH cheaper such as one you can buy off filmmusic.net.
And many people think just having contact info for music sups will make them successful. It takes a lot of business savvy, time, patience, and the right goods. These sups get bombarded by composers contacting them every day. You have to really stand out from the crowd to get noticed. Doable, yes… But FAR from easy.
This is one reason many successful composers work through libraries. It allows them to focus on what they do best, making great music, while letting others do the schmoozing with the sups.
😀May 14, 2013 at 7:18 am #9845Desire_InspiresParticipant
I really do not see the value in this service.April 30, 2014 at 4:40 pm #16046Justin RatowskyGuest
Where is the best place to start with licensing? I have an ASCAP writer and publishing account, but I’m talking about getting the contacts to start pushing my music for film, tv, and media? Any help is much appreciated! Thanks!
ONELOVE – JUSTIN RATOWSKY – CALI CONSCIOUSMay 7, 2014 at 7:52 am #16252markbodinoParticipant
Any feedback information REGARDING EXCLUSIVE vs. NON-EXCLUSIVE
I’ve recorded a lot of classical guitar pieces along with original music. I’ve been at an impasse….. Do I upload to multiple sites or try secure an exclusive deal? Also, if I upload to other sites, have I eliminated opportunities for an exclusive deal? I’ve been corresponding with [Removed] regarding an exclusive deal. I inquired regarding the ability to break with them and consult other options at some point if there was nominal or no success. I didn’t hear back. I felt this was a legitimate question. I didn’t want to have songs sitting in virtual space “collecting dust” while having no autonomy. I’ve also been seeking starting my own publishing Co. Looks very complex, although I have the focus and initiative. Any feedback would be appreciated.