[Advice]

So, it would seem that 0 % is the “norm” for blankets? I wonder where the incentive is for a library to push for needle drops on individual tracks when they can just sell a blanket, pocket the fee and be done with it.

That has been my experience so far with libraries such as J* and S*. It’s all back end. The library makes it’s money from the blanket fees. Yes, those same libraries (I see it with J*), do also go after conventional sync deals, but what I’ve seen is the majority of placements being blanket, back-end only.

Also, there are many non-blanket placements with no up-front money as well regardless of library. For example, MTV rarely pays sync even when dealing directly with composers (Yes, I know there are some exceptions). Luckily, MTV pays a lot better than other channels on the back end.

So it comes down to: Do they at least have a good track record *IN* the market they go after? Are you OK with back-end only remembering that it is non-exclusive and you can still market the tracks elsewhere?

[Advice]

There’s always many factors to consider. Yes, 25% on sync instead of 50% is below the so called “norm”. But you’d weigh that against the track record of the library for actually getting sync deals in the first place, since many libraries get only deals with all back end.

I always say that one of the most important factors IF you can get the info, is the recent track record of the library in securing placements. You can’t name the library on the general forum section here but if you are an MLR member you could discuss the particular library and maybe others can tell you what their experiences have been.

Good luck!

[Advice]

It sounds like they are giving you 25% on any blanket, sync, direct performance fees (e.g. as with Scripps network placements), etc. Considering that many libraries give you zero on much of those, it’s actually *relatively* good with the exception of 25% on a standard sync (non-blanket). There the norm is 50%.

You should still be getting your 50% on PRO royalties.

You might want to ask them to clarify how your fee portion is determined on blanket deals. Most likely it’s some sort of pro-rated formula. If they do a blanket of 1000 tracks for $10,000, I’m pretty darn sure they won’t be paying you $2500. It’s usually prorated by your number of tracks over the total number of tracks or some such formula. It will be a very small amount of money, I’m sorry to say.

However, as with any deal, you have to hope you get some placements on decent paying channels and a lot of reruns so the PRO back-end money adds up.

[Advice]

Looking at credits at the end of shows is a GREAT way to learn which libraries are supplying the music. You can learn about low, middle, and high end libraries that way. For example, on reality TV shows, you’ll often see JP, SK, etc. mentioned. On major network shows, you’ll often see the big boys.

It’s also a good idea to see if you can listen to samples from the websites of those libraries (if available, of course). Many of the libraries for high end placements are ultra selective and very hard to get into. Be realistic with yourself before submitting. If you want to play with the big boys, strive to make your music sound as good. Get honest opinions from other successful composers. If they let you submit and you throw junk at them, you are probably done.

Full disclosure…. I do not have music an any ultra-high end, exclusive libraries. The highest end I’m in is the big “C” in LA which still NE. 99% of my placements to date are reality TV BG cues through libs like JP and SK.

[Advice]

Also, since this may be the first time aired, you don’t even know if there is a license fee.

I believe he said it came from an RF library, so there would be the “sale” price (unless it was a music cult gratis license).

It was unclear what library placed it as far as I can tell. He said it was also in NE libraries. I mentioned above that Tunesat can’t ID anything but the audio; It can’t tell what library.

😀

PS Since the PRO money depends so much on use, I didn’t want to make assumptions that it’s just Starbucks money until all the facts are in.

[Advice]

Thanks for your reply, advice. The way i have set up things is that i have the free account with tunesat and have uploaded those tracks which i have on my RF sites, these same tracks are with a few NE libraries but are all retitled in those libraries (as expected). For this reason i am quite certain that it was from a RF site. I will contact the sites but i dont expect a response, any suggestions on how to contact the producers of the show. Thanks again Advice for your kind advice.. cheers

Tunesat cannot ID which library a placement came from and titles they show are meaningless- they are whatever title you used when you uploaded the track to them. They use audio ID fingerprinting– all they know is what audio was detected.

So if you had the track in multiple libraries, it’s anyone’s guess.

I would just wait and see if a cue sheet shows up within 6-9 months.

I’m not sure the PRO money will be THAT tiny. A few broadcasts on CNN might do OK. We’d have to ask others who had CNN placements how they did. I wouldn’t assume the money to be trivial though (Disclaimer: No personal experience with CNN placements). Also, since this may be the first time aired, you don’t even know if there is a license fee. You don’t always find that out for a while.

Deep breath. Nothing is quick in this biz. 🙂

[Advice]

Hi MM

CONGRATS!

First, I assume you are sure that the RF site is the only library that has the track.

I would first contact the RF library before contacting the show producers. That’s always the process to follow unless you don’t get reasonable response & timeframe. Keep in mind that PRO’s look back quite a while and payments are 2-3 quarters behind broadcast. So there is a lot of time to get the cue sheet filed.

Good luck!

[Advice]

I know Michael, you don’t mean “pro” vs. “non-pro” to be derogatory. In literal terms, it simply means those who make a full living with music vs. those who don’t.

But the linguistics serve no purpose except to offend and alienate *SOME*. There will be folks who will take it negatively and the result can be lots of posts with no value while people bitch at each other.

And don’t forget that many of today’s part-timers may be tomorrow’s pros.

Much more constructive is a discussion of the various markets, types of music that serves those markets well, general strategic advice for going after those markets, etc. That can be done with the angle of helping people make a full time living at this one day– no labels on people needed.

Full disclosure: (1) I was not personally offended. (2) I am a part timer with no goal to make a full time living in library music.

[Advice]

I think throwing around the “pro” vs “not a pro” thing is dangerous.

The one thing we almost always can agree on, as I mentioned before, is there is no one size fits all strategy that works for everyone.

More productive (as you have already done at times, Michael) is to discuss what qualities and attributes of music tracks make them work best in which markets (in general!)…

[Advice]

It’s been said a million times on these boards. There is no one size fits all solution in this biz. Some make the majority of income from a smaller number of high end placements with nice upfront license fees; Some make a big chunk from volume-oriented back end only PRO; Some make their biggest portion on RF.

I think for MOST people, diversifying would be the safest way if you want to protect your ability to make serious money (e.g. the kind you live on) in the long term. But even that advice isn’t one size for all.

[Advice]

You make excellent points as always, Michael.

One thing I want to add is that in parallel to these developments over the past decade or two (blankets, re-titling, gratis, etc.), has been a large increase in demand for cues due to the explosive expansion in cable television. Lots more channels with more shows need more music.

So while upfront fees were dwindling, the number of placements writers could make for back end only were dramatically increasing.

And yes, with technology came the ability to crank out many decent quality cues (“decent” enough) in short time frame.

😀

[Advice]

Interestingly, the libraries like S*** and J*** that do a lot of blanket deals with no upfront to composers are forcing everyone into their exclusive model. But they still aren’t sharing blanket fees.

I’m not sure what your exact point is here, Michael. There really isn’t any turning back as far as most reality TV cues being blanket with no fee to composer. If one stays out of that market (a personal choice), they certainly need a good alternative to bring in income. I know you are big on the RF model and that is one alternative. But not everyone is able to make as much money in RF as they are in reality TV with PRO.

Some writers make a large share of their income from back end only.

😀

[Advice]

I wouldn’t be in such a hurry to turn this down. Instead of asking them to strike sentences, it’s better to first get clarification on what they mean.

First, different people use the term “Gratis License” differently. It could simply mean no upfront license fee (not at all unusual today) but you would collect on the back end. Sometimes the back end makes it worth it.

And blanket licenses are very common, often resulting in the writer collecting decent back end. A blanket is not *necessarily* gratis in that the library does collect a fee. Unfortunately many libraries do not share any portion of the blanket fees with the writers.

Most important is whether or not the library has a track record for placing PRO revenue generating placements.

And DI… You said “Time to move on” after you were willing to sign tracks to that library offering PRO-free deals? Huh?

[Advice]

Michael would be better equipped to answer this one.

First thing that matters is the reputation and track record of the library. The “according to the laws of” applies mainly to what would happen in a dispute. The reality is few composers would really be able to pursue an international dispute anyway (and maybe not even a domestic). But hopefully with reputable players it will never be an issue.

PS I have a feeling that the Ukrainian library I had tracks in is now a Russian library. 😛 (jk)

[Advice]

If the library name started with “S”, you are not the only one. I think the catalog is pretty full and they’ve been asking some folks to stop submitting, especially NE.

[Author]

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