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Happy Holidays to all! Wishing you all a great holiday and New Year full of health, happiness, love, laughter and many cue sheets.
🙂 A
In this day and age it really doesn’t matter where you live.
+1
In the music LIBRARY business, it really doesn’t matter nowadays.Nice, Rob!
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I hope the owner of the library will come on here and give their side.
On the surface, it’s easy to say the library stinks. But we need to be careful. We really only know what the original poster’s side of the story is. While I have no reason to doubt what the OP is saying, I’ve seen enough (in general on forums) to be careful about jumping to any conclusions.
I didn’t want to start a discussion about how fingerprinting might be an issue with re-titles. I hope we can stay away from that whole can of worms.
Based on the input here that the manual processes are as error-prone as stated, I was simply asking the question if we think electronic means would be *more* or *less* accurate? More Advice: You’ve raised some issues as to why electronic detection may have problems. But if (let’s speculate) it was 75-80% reliable, would that be an improvement over the manual methods?
Just food for discussion about accuracy. Nothing hot or controversial, LOL
Question…
When the PROs go with fingerprint monitoring (a la Tunesat), do you think the process will be more or less accurate? Even though I hear that fingerprint monitoring may be 20% (or more) off, I wonder if it would have to be more accurate that the current manual process.It would seem natural that a manual process whereby music sups deal with mounds of paper, trying to get hundreds and hundreds of cues right, would inherently be very error prone. Nothing subversive there. Just the human factor.
I also want to mention regarding cue sheet errors that it stands to reason that errors can be in either direction– in your favor or against your favor. For example, incorrect cue length can go either way. So, I would HOPE that when you have a lot of volume out there, some things average out.
I saw an interview with Sheryl Crow once where she mentioned how exciting it is to be on the same cue sheets as More Advice. :p
Just razzin’ ya, M.A.
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I agree with Denis. The best and cleanest way to do this would be to be a co-writer for some percentage of the Writer’s share. I would think the *minimum* reasonably fair deal for you would be to split the Writer’s share with him. That would give you 25% of the total pie and him 75%.
The (what amounts to) 7.5% share he offered you is way too small IMHO. You’d make pretty much nothing.
Everyone wants to blame libraries, if they don’t do well. In reality it probably comes down to the composer 90% of the time.
What are you suggesting, Michael? That we take personal responsibility for anything? What the heck are you thinking???? :p
Before we jump to conclusions, do we know *ALL* the facts?
Was this license for a short term such as 3 months, etc. and would have to be renewed for additional license money? (And the possibility of renewal, likely, such that the library felt it was worth a shot?)
I’m not saying it doesn’t sound like a low fee. But without the OP having a discussion with the library as to ALL the details, we *MIGHT* be getting our underwear in knots too soon.
I did read that the OP hasn’t received return emails from the library yet. That would be sad… Unless there was a tone to the emails sent by the OP (not saying that’s true!).
The OP also said this library made good money for them in the past. That’s definitely something to consider here.
Anyway, my only point is sometimes people go “off” based on a little info in a post and really don’t know everything about a situation.
>>>> It’s getting to a point where PROS need to get together and set a minimum license fee for a national spot to protect everyone.
PRO’s have nothing to do with master/sync license fees. So I don’t get this statement.
I agree that in *MOST* cases, especially for anyone who already has made placements, doing work for exposure only isn’t worth it.
That being said, EARLY in your career, doing a few such projects *MIGHT* be OK because you (1) Get to refine your custom cue writing skills and (2) Get something for the bio.
Having some bio credits when you do go and contact libraries on your own may be helpful. And learning to write on spec is a skill that many of us need.
Please don’t throw tomatoes at me. I am not saying “credit only” is a good deal for most folks here. At this point in MY career, when I see a listing on FMN (for example) that says low budget/credit only, I simply delete it.
You should definitely contact the library and straighten out the situation.
Their marketing one of the rejected tracks as exclusive while you may be putting in in non-exclusive libraries is a recipe for trouble.
As far as their only putting 5 of the original 8 on their website, that partly depends on whether it is the type of library that markets solely via the website or is that adjunct to other marketing (mailing out hard drives, CDs, mp3s, etc). It *could* be possible that they don’t feature all of a composer’s tracks on the site. That is, unless as I said, they are 100% a website based entity.
Some EXCLUSIVE libraries re-title to allow you to market the same tracks outside of the film/TV world. Let’s say their deal allows you to pitch your songs to artists, sell CDs, sell downloads on iTunes, etc. The re-title allows for you to collect any PRO royalties earned outside their scope. Also, sometimes they simply re-title to make a more descriptive title.