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test – please remove
Practice, lots of practice. 😉
@Art >>>> “Worth the hassle. I’ve only been with Identifyy for 8 months and earned nearly $1k so far. I’m sticking with it. And, you can opt-out at Songtradr”
What I don’t understand (naive here) is, since I don’t work much with RF libraries, mainly broadcast TV ones (e.g. Cru for vocal songs, SK & JP, etc. for instrumentals), how would I get a lot of usages on YouTube, etc? That’s why I wonder if there’s really any money in it for me. Please let me know if I have this wrong.
😀
If your submission was not a response to a personal request sent to you, I think 2 weeks is too short a period of time to send a follow up email. MHO is more like 4. If they specifically asked you for something or it’s a requested mix fix, that’s different.
Most libraries hate those follow up emails, the exception being ones you have enough established relationship and track record with to go that route. I would definitely not do a 2 week follow up on a cold submission.
MHO ?
Thanks for the info, Art. AFAIK for me, I get very few placements that would generate this type of income. But I shouldn’t assume that’s the case for everyone. 😀
Everyone I know who does mainly vocal songs and switched from ASCAP to BMI has been glad they did. With cues, YMMV depending on what channels, what shows, track length, phase of the moon, etc.
I find the whole Content ID thing such a mess, I usually opt out of it everywhere. My experience is the pennies you might earn aren’t worth the hassle.
In theory, only ONE entity can manage your Content ID. So if you want that to be a particular non-exclusive library, opt out on all the rest including Songtradr (if they allow that). Or let Songtradr do it and opt out everywhere else.
I posted a reply here and got an error message. I think it’s lost now. 🙁
Getting an artist cut, even with great songs, is extremely difficult, with very low odds of success. Remember, the artists have a stable of established writers and it’s a pretty closed part of the business. I don’t want to burst your bubble if this is your life dream but that’s reality. My personal opinion, FWIW, is you’d be better off pitching these songs for Film/TV, through music libraries that place vocal songs. To that end, keep the lyrics fairly universal- no specific names, dates, places, etc., focusing on common emotions and themes.
Solo jazz piano done well are marketable. There are scenes that take place in a hotel or cocktail lounge which need these tracks. Can be good source music material. I would research libraries and check out what they show on their website. Google is your friend as well as signing up here, even if for a day, to read up on some libraries.
If you know what library placed it, I would start by contacting them.
Given all the intellectual property theft that goes on in China, I don’t think I’d sign any music to libraries there.
Anyone?
When you say “Covid” songs do you mean specifically about Covid (e.g. Covid, pandemic, lock down, virus, etc.)… I don’t *think* that would be in much demand. I do think there is still some demand for universal upbeat songs about getting through bad times, surviving the worst, making it through together, etc. If universal, they can be used for getting through the pandemic, relationship problems, etc. As far as which libraries, I would think any of the ones that do vocal songs for sync like Cru. Upbeat and anthemic songs of survival could be pitched tons of places. HTH.