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When I first read Del’s post, I also was wondering for a second if he was serious. But I think he was. So I responded with the approach that maybe we could help someone with the benefit of our knowledge and experience. And sometimes even if we don’t help the original poster, someone else learns something from our replies. You never know.
And if it was a all a joke… Oh, well… 😀
To be honest, one of the first things you need to do is be way more receptive to feedback from experienced folks:
“I did meet this guy on a forum who is a top composer and he had a listen and his comment was that the intro needs to be shorter. But then again, that’s not a very good comment as the idea is of a gradual build to get over the impression of marching ants! It wouldn’t work with an intro. And anyway, if it did that it would no longer last 60 seconds!! So perhaps not a sensible suggestion there.”
The above says it all.
Also, the fact that you continue to talk about titles so much, concerns me. It says to me you are not catching on that it’s about the MUSIC. A bad title can hurt you (such as one that is a Charles Dickens novel) but other than that, it’s not the most important thing.
Best of luck.
>>>>> Chances are likely that your music was rejected because: 1. they didn’t have a need for it right now, 2. your style/genre isn’t something they normally market 3. it didn’t meet their quality standards.
Yes, that is almost certainly why your tracks were rejected. Most trailer houses are pretty selective with very high standards.
The very long title did, however, make you look very much like a non-professional– something you’d rather not do in the future. It’s like sloppiness on a resume when applying for a job.
Best of luck!
Del
The title IS ridiculously long. If the music doesn’t speak for itself, putting the “story” in the title won’t change a thing.
More important would be for the title to somehow reflect the style, mood, vibe, etc.
Learn from the experience.
Best 😀
You have to contact them to email you the new exclusive contract. Once you sign that, everything you submit from that point on is exclusive.
>>>> “Hi _____, I sent in some great new tracks to your server in the non exclusive submission folder.I really think you will like these cues, they are well thought out and very relevant to what is on the air these days. Let me know if you had a chance to listen to them.
Although not relevant to this discussion or the response you got from the library, I don’t think I’d say my tracks were “great”, “well thought out”, etc in an email to a library, letting them know you uploading tracks for consideration. It could come off a bit… Well, not sure the word… Presumptous?
MHO is simply say the style, genre, etc… Words like “modern”, “contemporary”, “a la [artist X]”, etc would be better. It’s easy to turn off the other party with the type of language above. Again, JMHO and maybe not a big deal… And again, not the reason you got that reply about exclusivitiy.
😉
Did that library name start with “S”? 😉
BTW, I have nothing negative to say about JP. They’ve made placements for me and hopefully there will be more. I’m disappointed I can’t get more info on this one issue but I also recognize there is a lot of turmoil right now and even THEY might not know what to say.
😀
My only concern right now is getting info about what they will be doing with the non-exclusive side that I’m in. It’s not clear (probably not to them either!) what the future opps for these tracks are.
They sent me an email asking if I wanted to go exclusive and I replied I wanted more information about the non-exclusive tracks… no reply yet… I know they don’t seem to answer questions on this topic very well.
😀
>>>> I think that composers could better spend their energies doing other things
I think unless you are someone who makes their income or is looking to make their income from vocal songs, that’s easy for YOU to say. Some folks livelihoods are at stake.
What is “FP”?
It depends on what interest rate I have to pay back my (earnings) with!! 😉 🙂
The email I got was the standard one with the exclusive contract. No answer to questions either. My feeling is just give them time to settle down. Given that it’s unlikely (as of today- it could change) I’ll sign any exclusives with JP, no biggie to me.
Maybe, with so many artists emailing them, they’ll send out a broadcast email with FAQ about the new exclusive option.
🙂
I emailed artists@JP asking for details, contract, etc for the exclusive option and just got a reply with the contract. Didn’t read it yet but my email WAS answered.
It could be they are overwhelemed right now with all the artists calling and emailing about this exclusive issue. It’s only about a week since this announcement. Maybe in a few weeks, when things calm down, things will return to more “normal”… We shall see. Breathe in… Breathe out…
The bottom line is, like it or not, JP’s business model is built around blanket license deals and they will do what they need to survive. And we all have free choice as to which libraries to put our music in. Their deal was non-exclusive up to now and their contract is fairly short term, meaning pulling tracks (if you choose to) is easy. No one’s been harmed and many of us had placements. Dissapointed, but not harmed…
I’ve always known that their model gives strong preference to their in house team as composers. But on the positive side, that opened lots of doors for the rest of us. They were able to build good relationships with the right people. If, for example, Jingle Jared custom composed a theme for a TV show and as a result of that was able to get a blanket licensing deal for the rest of the library, I’m VERY OK with that. In fact, happy about it.
I’m much more interested in what happens in the industry as a whole than what’s going on with JP.
😀