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Hi there. For those of you that do work for both high end libraries and royalty free libraries, how do you deal with the fact that some high end libraries will not accept you if they see you have work on royalty free libraries? I’m also wondering about registering works with PROs. For example, if I do some stuff for a royalty free library, would I register that work under my normal PRO account or should (can) I set up a separate PRO account for that work? Just wondering as I type here, I hope this makes sense. Thanks!
I use a pseudonym for the RF stuff. You can set up an alt ID with your PRO. Hard to sell your stuff for top dollar to the top end guys, when you have cut rate prices on RF sites.
“Higher end” what does it mean? It means that they will sell a license for your works at a higher price on very rare occasions. So you may get 10K for a national spot once every 1 to 3 years. Perhaps 3 to 5K happens once a year. “Higher end” does not mean more revenue in your pocket. Yes, hiding your identity with a pseudonym is pretty much so what everyone does. “SSSSHH, Don’t tell anyone, my music is also for sale on “low end” markets, I am selling as “Golden Turtle Eggs” over at the rf stores…but my “real” artist name is Massimo Maestro Bella Laudaudio“..
P.S. Don’t ever give up control of your music. Those contracts that ask for demos to briefs and then they own the demo if it does not sell for the project, Don’t sign those. NEVER give up ownership of your intellectual property because in the end that is all you have. That is the only asset you have is your music! Does everyone realize this?
P.S. Don’t ever give up control of your music. <<snip>> Does everyone realize this?
LOL Evidently not Music1234. If they did, the Exclusive “high end” libraries would not be getting any music. Or they would have to change their contracts.
Yes LA Writer…We need to pull out the loudest trumpet we can find, a Mega Bull Horn and remind all writers that you win in this game, by controlling and owning your works period. 100% control and ownership of your creations at all times forever, sold everywhere ideally. Working with HIGH END and working with RF. One of my favorite quotes from a music supervisor article interview I read was this…He was asked “People ask me all the time where should I sell or license music? Who should I target?.” His repsonse was great: “I tell people to sell their music to whomever is buying it.” Could not agree more! You own and and control your music and sell it to whomever is buying it. This is not to say sell for any price. But do sell it to whomever is buying it.
Patrick, you asked:
how do you deal with the fact that some high end libraries will not accept you if they see you have work on royalty free libraries?
I simply say “I am sorry but I am in business to make money. I have a large and proven portfolio and a history of making money with it in any and all markets so please don’t worry about where I sell my music, if you believe you can sell my music at “high end” prices…you can take it in and rep it non exclusively.” Patrick, Let your music speak for itself. I just had a “medium end” EXC library accept a huge batch of cues non-exclusively by the way.
Why did they take it in NE? Probably because THEY make money off of my existing music in the library and the NE or RF issue is not causing any problems for them. They really are two different markets servicing two different customers. Remind them of that. Cheers, and good luck Patrick.
I took “High End” library to mean those libraries that pay a handsome upfront fee. Those libraries are exclusive and will not be interested in your NE cues. Yes, you should always keep ownership of your writers portion. These libraries are in business to make money too, and will not be paying their normal $10,000 fee for 15 of your favorite NE RF cues, they want EX. That being said, I would use a pseudonym even with no upfront NE or EX “mid tier” libraries.
How can a pseudonym really hide one’s identity when a library can see the alt names listed with the PRO?
How can a pseudonym really hide one’s identity when a library can see the alt names listed with the PRO?
Not only that, they can look at your catalog and see all of the publishers/libraries that you work with. So, yes, the big “work for hire” libraries can also see if you retitle.
With a little research they CAN discover you work with RF libs, I think the important thing is, that if they google your real name, that the first hit isn’t an RF library. The ones I have worked with, never asked or cared. I just try to keep both sides as separate as possible.
Yes, so why use the pseudonyms when any library can see those pseudonyms via a PRO lookup? Is it thinking /expecting a library will be thrown off course when seeing a pseudo on the RF site, they won’t look /investigate further at the PRO info?
When they check you out to sign you or register a cue they will easily find out.
The ones I have worked with, never asked or cared. I just try to keep both sides as separate as possible.
Same here.
I’m confused. Are people saying that higher end libraries won’t accept your unique, exclusive tracks if you have OTHER tracks in re-title or RF libraries? I would think they only care about the specific tracks they are signing.
It is quite normal for a composer to have a diversified catalog, some music in RF, some in high end exclusive, etc. but not the same tracks in both.
I would **THINK** it would be rare for any library to turn down tracks because you have other deals for different tracks.
Am I missing something?
I know of at least one big ‘PMA’ library that has such a beef with RF sites that they say (at least publicly) that they don’t work with composers with music in RF libraries.
If you ask me, it’s a pretty mean stance to take. RF has helped so many composers make the move from dabbling and doing it as a hobby to a significant income stream, or even moving into it full time.I’ve heard about that one PMA library owner’s public statement. AFAIK it was not about RF libraries specifically, it was about re-title libraries. He said he won’t work with composers who have music in those NE/RT libraries. However, I’ve also heard he doesn’t necessarily follow through on that. I know composers who have had music accepted into his library and have other tracks in NE/RT libraries.
The bottom line is I wouldn’t worry too much that putting tracks in NE/RT or RF libraries will affect your ability to put OTHER tracks in high end exclusives. That’s exactly the diversification that works for many who make a living at this. 😀
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