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Hey Dan
I’ve worked with Glow and had a nice placement by them around 1-2 years ago. They actively pitch and continue to get good placements. They are highly selective and reject a large percentage of what is submitted. I don’t know much about instrumental cues with them but my *guess* would be if it has excellent licensing potential, they’d be interested. Probably not the place for typical reality TV cues, more likely very syncable instrumentals.They only seek sync fee deals which they split with the writers and take no publishing.
HTH
Glow Music Group is a sync agency, not a library. As far as I know they are NON-exclusive as I have some songs with them. I had one nice placement with a decent sync fee. They do not take any publishing, only a split of sync fee.
EXTREMELY selective. If you got any accepted, you have some excellent sync-worthy material.
HTH. Good luck!
I think it’s best to start with the library who made the placement.
Monkeyman
I actually agree with the person who was hiring you. The whole idea of a WFH is one fee, they own everything, and you get no additional royalties or payments of any kind.
Keep in mind that the WFH contract *might* have to be shown to others that the client is working with and any encumbrance on rights, ownership, future liabilities, etc. can be a show stopper for them. They could end up involved in a lawsuit, for example. I’ve seen music libraries refuse songs if the WFH agreement had any other obligations of any kind.
So if you’re not comfortable with that price and nothing else, you can see if you can get a higher fee. But it should be a once and done thing. Take it or leave it.
Best,
CaseyMost successful libraries have plenty of great music and do not need to cold call to get more. They usually have way more submissions than they can handle as well as a darn good catalog. It would be a rarity that a solid opportunity would come from a cold call like that.
Delete and move on.
Best
Often being a little fish in a huge pond isn’t the best option. The best ones for me have been smaller, more boutique, ones that have good relationships with a number of TV and film music sups.
Of course even with the libraries that “actively” seeking placements, tracks can linger for months, years, or forever without a placement.
I’m with Art here. They miss a lot but they can also pick up something that makes you money. While it’s true that the PROs don’t accept Tunesat detections for proof of broadcast, a detection can have you go back to the library and see why you never saw a cue sheet, got paid, etc. Tunesat picked on a significant network placement for me for which I never got an ASCAP cue sheet. I contacted the library who in turn contacted the client who made a cue sheet correction. It turned out that my track was a last minute substitution and they had forgotton to fix it on the cue sheet.
It’s true that 50 tracks isn’t much but heck, that’s for free. It’s also true that the paid options are way too expensive for anyone who is not managing a very large catalog with a lot of revenue involved such as it might be for a library.
Full disclosure, I know nothing about this company.
It seems to me that music supervisors, libraries, and video content creators already live in a mega saturated market full of places to get music. And there’s certianly no shortage of sites out there to “help people get their music into the right hands”. And music libraries don’t have exactly struggle to find music.
This is not a rant against anyone who charges, the so called “pay to play”. I hate that term and I do still work with one company I respect (don’t ask which one please).
But I believe the best placement strategy is work directly with good music libraries. They have the contacts and connections. If you can find out what they are most looking for and that suits your style, that gives the best chances. A music library can pitch your track to many clients over many years. A one-time brief for one placement is just that. And just because your track is on some website, doesn’t mean anyone will ever hear it.
JMHO
I have to agree with what’s been said in that it has to be something you enjoy doing or you won’t be good at and probably lose interest. So pick a style that you hear regularly on TV shows and know you could excel at and go for it.
I like Bandzoogle for musician/composer websites since they have tons of templates and make putting up links to songs very easy. It runs around $19.95 a month (If I recall) to include email with your domain as well. I don’t know if that’s within your budget.
Unlike Art, I have no interest in actually selling music on my site. I just want it represent who I am and samples of my work. Interestingly, I never use it to send song links to libraries or sups. For that I use Disco. I find it quicker and easier to customize playlists for that purpose with Disco. Soundcloud works as well but has issues with piracy and running ads.
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BMAT’s website is pretty annoying and a turn off. You can’t get any information without going through a sales lead generation thing. They really have to simplify things to “What do you do and how much do you charge?” I understand that for big publishers, a personalized quote may be needed. But in general, the site is a sales & marketing disaster (not said meanly, just honesty). I wonder how many visitors leave right away because they can’t figure out anything from the website. BMAT may have great services, I don’t know. But MHO is you have change your web presence to get anywhere. I could be wrong there, I know. PS I am not in the website development business, not selling anything.
If songs are in regular Audiosparx (not Radiosparx only), you can’t put the songs with content ID services such as Identifyy. AS does the content ID management for those tracks and it’s a clause in the agreement. Personally, I don’t care as long as SOMEONE is doing it. I don’t add tracks to Audiosparx anymore, haven’t for a long time. I created a new artist on my account and made that artist “Radiosparx Only”. I learned that by asking AS how to do it. However, you can’t put songs already in full Audiosparx with the initial artist into the Radiosparx Only artist.
Songs that are with a Radiosparx Only artist are free for you to manage content ID with on your own as RS is in-store audio play only. For more info, contact AS.
HTH
I think comparing our quarterlies in terms of increases/decreases with other composers doesn’t work because there are too many varaiables. If I have some network TV placements 6-9 months before the payout, it will go up significantly. There can be a flurry of activity on reality TV show reruns that use one person’s tracks, but not someone else’s. Our trends would probably only parallel each others if/when there is a widespread industry issue over many months. The current writers & actors strikes could be such an issue whereby everyone sees a drop a few quarters from when it started. But for the most part, trends will vary quite a bit from person to person.