Youngrichyrich – Real or imagined? You decide.

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  • #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
    Guest

    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
    Guest

    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
    Guest

    @LA Writer

    Large team. I work an hour a day.

    #32573
    guscave
    Guest

    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
    Guest

    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
    Guest

    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”.

Viewing 10 posts - 1 through 10 (of 28 total)
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