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I was wondering if anyone has made the leap from, with NE and RF libraries, to just treating these libraries as exclusive when you send music to them. Seems it would certainly be cleaner then sending them off to a few different libraries and hoping for the best. Easier to track where your sales/placements are coming from, forces you to focus and think about what does well where. And to be focused when writing which seems to work better for me anyway. Also, I may have tracks that do well across libraries, it seems in general for me anyway, a track may do really well in a given library not sell at all, or not sell to a where it makes significant amount of difference then if I would have focused on just writing for that library, if that makes sense. So considering just zoning in on writing specific tracks for specific libraries, writing for just that library , and calling it a day for that particular track. Thoughts/ convincing arguments on why this may or may not work?
Why not just sign with an exclusive? i would rather have a track with an exclusive library that has all exclusive tracks than treat a track as exclusive in a library filled with mostly mediocre non-exclusive tracks.
I recently had 25 tracks released from an exclusive library (actually converted to non-Ex). They earned me less than $200 in back end an no sync fees in five years.
I put them in a couple of RF libraries a few months ago and they immediately started selling and have already surpassed the exclusive income I made with them.I still do some exclusive stuff if I get a call for music that is “in my wheelhouse” and I can knock it out quickly. I hope to do a “heavy” time intensive track or 2 this year and submit it exclusively to see how it does.
I still have never gotten a sync fee for an exclusive track, just cable network back end. Most of my placements are still non-ex, but that takes time to see results.
I still make more from RF that back end so non-ex it my preference.
What you should do is try to aim for the best exclusives, and those should command nice sync fees and placements regularly. That’s what I’m trying to do. Seems like the best move.
I recently had 25 tracks released from an exclusive library (actually converted to non-Ex). They earned me less than $200 in back end an no sync fees in five years.
Same experience here. Less than 25 and $0 but at least I feel certain they will earn some RF dollars once I get them up. I do make a lot more on back end than RF though.
I’m a in a bit of a quandary on where to go next. Dipping my toe in the exclusive pond has not been that great of an experience thus far.
I was wondering if anyone has made the leap from, with NE and RF libraries, to just treating these libraries as exclusive when you send music to them.
Back to the original question. I’d rather be spreading them all out to the few libraries I work with. You just never know what’s going to sell where. Just had a nice sale on AS where our cut was $200. That was a nice surprise on a very old track. It also was the same $’s as selling 10 or more tracks on most other RF sites.
@Art Munson
What exclusives are you with? Looked your name up on a few of the biggest publishers and couldn’t find anything. Maybe you’d have a better experience with the major players?
I put them in a couple of RF libraries a few months ago and they immediately started selling and have already surpassed the exclusive income I made with them.
I’ve had music in a number of mid-tier, “money upfront”exclusives. Backend has always been sparse.
I’ve found that with RF libraries I can quicky make what I was receiving in upfront money AND exceed what I was getting in backend money.
@Jerry
Unfortunately, I’m not good enough to get in to the “major” exclusive libraries … yet. Maybe somedaySame experience here. Less than 25 and $0 but at least I feel certain they will earn some RF dollars once I get them up. I do make a lot more on back end than RF though.
Art, you still haven’t posted them on the RF sites? Ha, that’s funny. I dragged my feet too. The tagging, argh. I still haven’t gotten all 25 done. Many need some tweaking now that I have a few more years of experience.
What exclusives are you with? Looked your name up on a few of the biggest publishers and couldn’t find anything.
Never submitted to any but may in the future.
Art, you still haven’t posted them on the RF sites? Ha, that’s funny. I dragged my feet too. The tagging, argh. I still haven’t gotten all 25 done. Many need some tweaking now that I have a few more years of experience.
I hear you and that’s what I have been doing. I went through everything we have written over the last 10 years. I re-mixed, re-versioned, added alt mixes and re-did the metadata. A long process that has taken me 1 1/2 years and only 2 left to do. I now feel I can move forward and that re-covered exclusive batch is first on my list.
Treating NE songs as Exclusive is dumb IMO. Equally dumb is randomly throwing them at 10-15 different NE libraries. Self defeating. Doing your due diligence is a good thing, and putting them where they will work is what will get you going.
IMO – I’m with some of the biggest Ex libs out there – EX libs are as spotty as NE libs. Some great things have happened and just as often, some losses where I feel I’ve wasted my creative energy.
Research and correct placements are the key. Giving tracks to EX libs without significant up front buyouts is crazy…..
Giving tracks to EX libs without significant up front buyouts is crazy…..
I don’t totally agree with that. My biggest income generator is an exclusive library which doesn’t pay anything upfront. They do however pay sync fees. This year alone I got over $5500 in sync fees. Not to mention that 75% of my back-end royalties come from this same library.
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