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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.
Well yes and no. We are both probably with that same library and I agree I don’t mind giving them exclusives but I think they are an anomaly. I doubt I will be rolling that dice with any other libraries that do not pay upfront.
I’ve been having these same thoughts as far as where to go next. I also have not had good experiences with exclusive libraries though they weren’t huge PMA type libraries so maybe I just haven’t found the right one.
But my main gigging band just got two nice network placements this last month with our exclusive publisher. Jane the virgin and Chicago Fire. Of course this is “band money” so not a big deal for me income wise but each placement paid 3,000 in sync. This is after one year in the library with one album. they did not pay up front but they don’t take performance royalties and they take a smaller than usual percentage of the sync.
But still I don’t think I will gamble with any exclusives with my own personal stuff that doesn’t pay up front. Its different with your bands music because we aren’t constantly shopping it or adding new tracks to the library. For now I’m still doing NE, and I’m about 6 months in to finally trying a few RF with a few sales so far.
Is there a list anywhere on here for exclusive libraries that do pay up front? Or for the people that say they have done best with exclusive companies would they mind sharing that on the libraries forum? If they are large and exclusive I don’t think it would hurt anyones personal experience with them.
Just look up all the libraries on EMI, APM, WCPM, Megatrax, Universal, BMG, etc. That’s where you want to be. Make a bunch of great tracks and albums with these publishers, and you’ll be successful.
If you have 800-1,500 cues with these libraries, you will most likely be pretty well off.
Interesting Jerry. Thanks for the post. Wondering what they chances are of , eventually , getting one of those to take on my music?
Good if you make music they want and think they could make money with.
Good if you make music they want and think they could make money with.
That’s what I’m trying to do. Seems like the best move.
Just look up all the libraries on EMI, APM, WCPM, Megatrax, Universal, BMG, etc.
So, are you still in the process or have you gotten into these lirbaries?
I have music on 4 out of the 6 publishers I listed, as well as 3-4 other big PMA libraries that aren’t distributed by any of the 6 publishers. I only started working with the bigger libraries last year, so I’m anxious to see how my music performs.
@Jerry, congrats!
Give it time. Some of my PMA tracks have been earning for almost 20 years!
The only caveat is that not every track will perform that well. Being in PMA library is not a guarantee that will happen. Some tracks just sit and some will fade away over time.
Thanks! That’s crazy. A lot of my music I make is trendy and will probably sound dated in 5-6 years. I think doing a mix of trendy music, and music that will earn over a few decades is a good way to go. Pros and cons to both! Gotta mix it up.
Yeah, I figured there will be a lot of tracks that sit there and earn nothing. But on the other hand, there might be some tracks that get a commercial, or earn a high sync fee and make a bunch of royalties, so it evens out. Over time I’ll see which companies do good for me, and what kind of music works with that company, to raise the efficiency (money-wise) of the music I make.
Just look up all the libraries on EMI, APM, WCPM, Megatrax, Universal, BMG, etc.
I’m curious to know how were you able to submit to these high end libraries? I tried a few years ago to send a friendly email to establish some type of relationship before sending them any tracks, but never got a response. I figured you had to know somebody there to get in the door
I got into these libraries by email. Every single one of them.
Do these EX companies tend to want more vocal placement music or are they also interested in instrumentals?
I am currently signing some songs from a band of mine with one thats under APM. Based in UK, one word starts with an S. Its obviously going to be some time before I see how they operate with the music, so I’m debating whether I should keep sending my new stuff to them or hold off and keep sending my current stuff to the NE’s. This company is exclusive with no money up front in perpetuity with no reversion clause. So kind of scary though I know APM is huge. And this is not the company I mentioned above that got a different band of mine the two network placements.
Hey congratulations on getting into APM’s EX and upper-tier libraries.
I’ve been working with middle tier PMA libraries that do not pay upfront (but pay sync and backend) and have been anticipating that when I begin working with the upper-tier, upfront money will be available.
You mentioned you didn’t get upfront money. Are you finding that typical upper-tier libraries? Where you surprised ?
I ask because composers on this forum have written that although the upfront has dropped, we should be getting something for upfront when working with the upper-tier libraries. Maybe they meant mostly for movie trailer music?
Thanks!
Thanks Paolo! From
What I’m told upfront fees has become incredibly rare. I think what you have been reading is just people saying there would have to be upfront money to really convince them to sign exclusively. also I honestly don’t know whether this lbrary would for sure be considered “upper tier”. It is one of APMs libraries, but are they all upper tier?
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