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I know this goes back and forth and what works for some doesn’t for others but I’ve recently seen more people here on MLR talk about signing exclusive songs with companies like JP or M that only get back end PRO royalties. I was curious why you would settle for that? That deal to me looks great for the library (offering EX content for FREE!), great for the client, horrible for the composer. Or is it just a matter of being competitive and now your songs are placing like crazy? Are you Seeing bigger better placements with bigger PRO royalties, or just more of the same from those companies except now you can’t sell those songs anywhere else? I like to keep this discussion going over time to see how that is working out for people?? No real way to tell until you have been trying something for a few years.
So far my requirements to sign EX has been that the company either has to pay up front for tracks (which is rare), or at least I know that they have a proven track record and willl be actively pitching the music for deals that get licensing fees in addition to back end. The only fair deal in my opinion without settling and contributing to the race to the bottom. Plus a big bonus for me is the companies that handle all the meta data stuff for you. It seems most of the companies I have talked to in the UK only sell songs for licensing fees plus back end, they don’t seem to be doing as much of the JP, Ep, or M gratis model.
So far my requirements to sign EX has been that the company either has to pay up front for tracks (which is rare), or at least I know that they have a proven track record and willl be actively pitching the music for deals that get licensing fees in addition to back end.
I’m with you mojorising. My experience, in working with a few select exclusive companies, over the last few years is that it’s not really worth it. A lot of cues just sitting and collecting dust.
I’ve just completed a collection of 10 songs that, I think, are somewhat unique and will pitch to the bigger libraries. We’ll see if they think so and are willing to pay for it. Stay tuned…
I’ve recently seen more people here on MLR talk about signing exclusive songs with companies like JP or M that only get back end PRO royalties. I was curious why you would settle for that?
I think it’s possible that people are submitting their “B” material to places like those, saving their “A” stuff for different opportunities. “B” material being quick one offs, nothing too time consuming or “dear to the heart”. Just feeding the machine…
So far my requirements to sign EX has been that the company either has to pay up front for tracks (which is rare), or at least I know that they have a proven track record and willl be actively pitching the music for deals that get licensing fees in addition to back end.
Don’t forget a reversion clause for those not paying upfront. This gives you the opportunity to get your tracks back if they do end up collecting dust!
Good luck with the shopping Art. FWIW, one thing I’ve been getting when going that route is “really good stuff, but we just released something similar”. It may be a question of timing when not writing to a brief.
I ponder the same question and don’t really have much of a reason other than trying to diversify a little. Similar to what others are saying, I do see some back end from a couple of the companies listed and it is growing, but not significantly. If I see a brief and think I have an idea that might work I’ll give it a try. If I can’t find an idea that works fairly quickly I abort.
It’s also find it helpful in that it forces me to get out of my comfort zones and try something different. If I had to put a number on it I would say the amount of time I spend on EX compared to NE / RF is 10% at best.
I agree with Mojorising in the respect that we have to send an Exclusive lib an “Audition” to be accepted to download tracks or get briefs.
That being said, if I browse a Lib website and they show no signifigant placements and no networks to brag about, I just auditioned them and move on.
That they are a proven library on here and have been around for about 5 years or otherwise have high marks from members. Personally I have had better results with fewer tracks with hand picked exclusives then I have with NE with several tracks. I’m still pretty early in at this though, submitting to libraries on my own for about 3 1/2 years now.
Same here Chuck.
More placement with a few good exclusives then with a multitude of Non-Ex tracks in large, run of the mill Libs.
well i might be one of those new breed composers you talk about. i”m only submitting to libraries since last February and composing about 2years so still a complete novice to the game. but for me my criteria is:
1. does the library in question have a track record of placements.
2. is the style ‘m writing in actually a fit for them & their clients and not just another track gathering dust.
3. diversification. because i’m so early in the game up to now i’ve only worked with non-exclusives, so exclusives with back-end is just the next market i happen to be trying mainly because i know my stuff is not good enough yet to get into the big exclusives.
4. i’m a noob so i’ve no idea what one can make with good back end placements. if it turns out to be rubbish then so be it but the don’t feel bad about giving those tracks away for back end only because i know i will be able to make much better stuff in the future when i get better.
5. and lastly and maybe most importantly, i don’t make my living from music and have a full time career job so this is just extra pocket money for now in a hobby i really enjoy.
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