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This is how it worked for me:
Year 1: $0
Year 2: $2,000
Year 3: $20,000
Year 4: $80,000
Year 5: $140,000On Year 6 now, going to be making around $200-250k. Will be hitting 1,000 tracks made this year.
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. 🙂
@LA Writer
Large team. I work an hour a day.
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?
@ 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.
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.
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”.
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 meansHey 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.
@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.
guess i’m really slackin off…it takes me an hour just to get through emails, news, and reports
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