Youngrichyrich – Real or imagined? You decide.

Home Forums Off Topic Posts Youngrichyrich – Real or imagined? You decide.

This topic contains 27 replies, has 7 voices, and was last updated by  Art Munson 3 months ago.

Viewing 15 posts - 1 through 15 (of 28 total)
  • Author
    Posts
  • #32606

    Art Munson
    Keymaster

    Moved a thread from here https://musiclibraryreport.com/forums/topic/how-much/ that went seriously off topic.

    Original post was about how much money is being made by a single composer until “Youngrichyrich” chimed in. I think we have been trolled but will let you all decide.

    Ah the joys of anonymous posters. May have to change that to forum posting by registered visitors only!

    #32565

    Youngrichyrich

    This is how it worked for me:

    Year 1: $0
    Year 2: $2,000
    Year 3: $20,000
    Year 4: $80,000
    Year 5: $140,000

    On Year 6 now, going to be making around $200-250k. Will be hitting 1,000 tracks made this year.

    #32567

    LAwriter

    PS – mr Rich. I’m not sure how anyone does 1000 tracks a year, but at that point, I’d guess it becomes a LOT more like work than making music. 🙂

    #32569

    Youngrichyrich

    @LA Writer

    Large team. I work an hour a day.

    #32573

    guscave

    Youngrichyrich

    Large team. I work an hour a day.

    “Large Team” indeed… I’m working 4 hours a night and only producing about 3 tracks a week. Are you writing for TV or selling beats online?

    #32574

    Art Munson
    Keymaster

    Large team. I work an hour a day.

    Folks, I think we are being trolled here. Always amuses me when a new, anonymous, visitor arrives with wild claims.

    @Youngrichyrich contact me with who you really are and I will be the first to congratulate you. I will also keep all details confidential.

    #32570

    Music1234
    Participant

    @ Youngrichyrich, So you have a stable of writers writing for you and you are taking writer share on each composition/ title? or are you taking publishers share? Are the earnings as “writer? or publisher? or both?

    Are the earnings back end only from PRO? or do they include “direct” sync licensing? Blanket fees sold? Advance payments? Streaming from Apple and Spotify, etc….ADREV earnings on youtube? HFA?

    To add some flavor to the discussion – In My first 4 years, Back end PRO royalties always exceeded direct licensing earnings, but that then started to shift and eventually direct licensing caught up to PRO earnings and lately they are about the same. Other important yet smaller sources have been Spotify Streaming, HFA royalties.

    When you have the asset earnings from several angles, it makes it a lot easier. Typically that situation can only be created if you maintain full control of your catalog. If all writers would just never sign cues over exclusively ever again, we’d all be in a better position to earn more because you then have the ability to put your music where you want to put it creating multiple revenue streams from the exact same asset.

    #32580

    Youngrichyrichy

    It’s all production music. Profit is about 60/40 upfront fees to royalties & sync fees

    I have over 70 writers

    Not trolling – of course, though, it’s your choice to believe me

    I’d like to stay anon but feel free to ask any questions.

    #32581

    Art Munson
    Keymaster

    I have over 70 writers

    Be that as it may but the spirit of the OP was about individual composers not someone with a team of 70 writers. Apples and oranges. Let’s keep the thread on topic.

    #32579

    LAwriter

    Large team. I work an hour a day.

    @ Youngrichyrich, So you have a stable of writers writing for you

    Ok then. Splitting that $140k up with a large team quite possibly leaves a less than significant living wage. Essentially it sounds like he’s working as a publisher and sub publishing or re-assigning to other publishers. Doesn’t sound all that interesting to me when you have to split up the small pie ($140k) with a “large team”.

    #32582

    Art Munson
    Keymaster

    Splitting that $140k up with a large team quite possibly leaves a less than significant living wage.

    I have a nephew working on one of those “teams”, with a major library. He’s very talented, gets lots of placements and struggles to live in L.A.

    #32584

    Youngrichyrich

    For most music creators we work with, library music is a supplemental income

    We do have a handful of full-time guys

    @lawriter what do you mean by “it doesn’t even sound interesting to me”? I can’t seem to unravel what that means

    #32596

    Music1234
    Participant

    Hey everyone, before we pull out the pessimism weapons and trash Youngrichyrich’s claims…let me say that his model does seem reasonable to me from a financial perspective only. If any of us find 70 writers and we are getting 100% pub share of the 15 tracks a year these writers are writing for this publisher, the earnings curve looks about right. BUT, where I am skeptical is the one hour per day effort going into this. Sorry, but just finding and evaluating 20, let alone 70 writers and then fielding submissions from them, publishing them for sale, registering them at PRO’s, writing keywords and descriptions for all releases, requires A LOT more time than 1 hour a day.

    If however, the entire process is automated and everyone auto uploads and you do not curate and review the music at all, maybe this kind of model does work for 1 hour per day.

    Anyway, @ young and rich and beautiful, if you are a publisher you are off topic. The discussion is about what 1 composer/ writer/ music producer can make from their own efforts writing music and submitting them to libraries, publishers, and do it yourself stock sites.

    Finally, certainly you have overhead running such an operation? So while your sales may be 250K this year from the 70 writers/ 1000 track catalog, I am sure you had to spend a good chunk of that $ running a web site and engaging in other marketing and distribution costs. This type of “part time side hustle” where you are only working 1 hour a day seems to not really add up.

    For the record, I typically spend 15 hours a week just writing, mixing, and mastering 1 or 2 tracks, but then I spend another 15 hours a week doing admin work: Studying Tunesat detections, filing claims at PRO’s, organizing metadata on spreadsheets, registering new titles at PRO’s, typing e-mails, reading industry news here and other publications, implementing uploads to the sites I sell on or distribute through.

    1 hour a day does not get you very far when you are first starting out.

    In fact any composer reading this who is just getting started, you better be ready to work non stop for many years writing at least 700 to 1000 tracks to get over 6 figures in earnings and you better write super creative, emotive, catchy, beautiful, powerful, etc. tracks that the market will want and have some decent shelf life.

    #32597

    MichaelL
    Participant

    @lawriter what do you mean by “it doesn’t even sound interesting to me”? I can’t seem to unravel what that means

    1. $140K split among 70 writers is only $2,000. How many tracks did each person have to write to make $2K?
    2. Maybe “assembly line” production isn’t creatively satisfying. That actually still matters to some.

    So, perhaps the money and the work are both not appealing.

    #32598

    boinkeee2000
    Participant

    guess i’m really slackin off…it takes me an hour just to get through emails, news, and reports

Viewing 15 posts - 1 through 15 (of 28 total)

The topic ‘Youngrichyrich – Real or imagined? You decide.’ is closed to new replies.