Working with Higher End Libraries AND Royalty Free Libraries

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  • #26798 Reply
    patrick
    Participant

    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!

    #26799 Reply
    OverDub
    Participant

    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.

    #26800 Reply
    Music1234
    Participant

    “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?

    #26802 Reply
    LAwriter
    Participant

    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.

    #26804 Reply
    Music1234
    Participant

    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.

    #26805 Reply
    patrick
    Participant

    Thanks a lot for the replies gentlemen. I appreciate the info!

    #26806 Reply
    OverDub
    Participant

    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.

    #26812 Reply
    Logika
    Participant

    How can a pseudonym really hide one’s identity when a library can see the alt names listed with the PRO?

    #26813 Reply
    MichaelL
    Participant

    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.

    #26814 Reply
    OverDub
    Participant

    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.

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