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I’ve heard the argument elsewhere that even if you don’t sign a contract as exclusive, some folks were worried about the trend towards music libraries that work with film and TV may be better off treating these. libraries as exclusive, sending one library one track at a time and moving on the next track. One of the advantages I see of doing this, especially for folks whose time might be a bit more limited, is you don’t spend countless hours tagging, uploading, etc. and can spend more time doing what you like to do best, which is create music. The argument holds to pick a handful of libraries with strong reputations or at least strong possibilities, research them to make sure they take what you do or that you can write to their needs, and don’t worry about submitting to 5 gazilliondifferent places and hoping for the best. Hopefully you can increase the odds of getting your music sold/placed by doing good research up front. If you can give them what they need, do your absolute best at it, and convince them that your same track isn’t being pitched to the same music supervisors or shows by 50 different libraries, everything is much cleaner, everyone is happy, and so on. I would think this would make your writing more library specific, make you a more focused writer, and more prolific and focused on quality since your track is in only one library and you need to make it count quality wise to make up for the fact that it is only in this one library. I suppose I could go into further detail about why I would think this is a good idea (i.e. no content id hassles) . Thoughts? I’d allow for the possibility that if the tracks don’t work there they could in the RF market for various reasons, none of which necessarily have to do with quality. I wonder if other folks have gone this route; it certainly seems per the discussions here that the more experienced people gain , the less libraries they choose to deal with.
I have been doing that exact thing. Writing tracks for just 2 places at this time. With one library I tend to do tracks similar to what they have already taken and then send them over to see if they can use them or not. They have about 5 or 7 Exclusive Tracks. If not I send them out to other libraries for Non Ex use. The second library had taken a bunch of uke tracks and since then I work on the email requests that are sent. They have about 50 tracks. Funny thing is I just heard my first track used on TV and it was from neither of those 2 libraries…
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