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You’re not the only composer who has been confused by the term ‘exclusive’ before – I had someone write a few exclusive tracks for me, take an upfront fee, then give the same music to ANOTHER exclusive library. D’oh!
Just what Art said – when we say a library is exclusive, it means that the library is the exclusive representative of that music. It’s usually FOREVER as they often OWN the music (masters and copyright), although there are some exclusive deals out there that are for just a specific time frame, which you’ll find listed on this site.
But (at least this would be the hope) the quality expectation is kind of ramped up, so if a library thinks enough of your track to represent it exclusively, it’s sort of an ethical/business understanding that there is more at stake and they should really be working for you to sell/place the track. If you really (REALLY) trust the library or see enough positive posts here to take a chance, it seems pretty standard to “try out” an exclusive library by sending them 10-12 tracks or so to see how they do with your music.
The library gets a piece of music that is not available to anyone else. The client knows the music is available to other shows etc. but they also know that the library is the only one with the track.
It’s like when Gibson makes a custom guitar that is only available to Guitar Center. Guitar Center has something special to sell that no one else does, but anyone who goes there can buy it.
A one off custom by Gibson is going to be much more expensive.
Like Art said exclusive to one client is something different.
You will make more money having that track available to any client who wants it. If it were only available to one show etc. your income would basically be once and done.
why is it advantageous for a music sup or production company to go with an exclusive library if they are not getting exclusivity?
I think the biggest reason would be that the client’s legal department needs a clean clearance, no weird issues popping up where someone else might claim they own / represent the track. ESPECIALLY if it’s a situation where two or more non-ex libraries have their catalogs on the same show. Who got it on there first?
“Exclusive” in the sense you’re getting at, does still happen for clients, but usually for a limited time. The side of things I usually hear of this happening is in high end licensing – commercials and movie trailers.
A high end track that licenses non-exclusively (the library is the sole owner, but is licensing the track to whoever will pay) for trailers might go for $25,000, but if a movie studio wants a track exclusive for a year, i.e. no other trailer using it, then the fee could be upwards of $75,000.
I’m still baffled by the advantage of an artist signing a work exclusively. The artist now leaves it up to the library to prioritize the track. A great track can sit accumulating virtual dust. The library has no obligation or requirement to advocate. How would the artist know either way? I’d rather have the freedom and initiative to affiliate with as many libraries as possible. I feel like if the track is deemed viable, they’ll put it out there and benefit if the clientele likes it. Unless it’s a well-known song.
I’m still baffled by the advantage of an artist signing a work exclusively. The artist now leaves it up to the library to prioritize the track.
This is where it’s very important to define what is meant by “exclusive.”
There is a vast difference between exclusive, like JP and exclusive like one of the larger PMA libraries.
The latter may pay a decent upfront fee, pay to have the tracks recorded by live musicians, and has vast human sales team working to place your tracks. The latter generally has more access to high-0end placements, like trailers, rather than cable / reality shows.
Keep in mind that you will always have tracks that “gather dust” for one reason or another, no matter what library they’re in.
Thanks Michael,
I’m relatively new to music libraries. In regard to exclusive. What is a “PMA” or “JP” library? Are there libraries offering exclusive deals that don’t have the “man power” to do so. Is there a way to identify libraries that will advocate and those who won’t on an exclusive basis?
MarkThe PMA is the Production Music Association. http://pmamusic.com
JP is an abbreviation for a specific library, which we’re not allowed to name when not on their thread.
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