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I think my last post must be awaiting moderation. ?
I’m not going to get into that whole Taxi good or bad thing. As far as the Road Rally, judge for yourself. Here is last year’s schedule. Major music sups and library execs are very much present, not to mention the many successful composers who are very much worth networking with.
The Taxi conference (The “Road Rally”) is amazingly great. Definitely attend if you can. Taxi members get 2 tickets (One for them and one guest pass) as part of their membership. If you are not a member and know one, they might be able to give you a guest pass and you could attend at no cost.
Unfortunately, from what I’ve read, instead of the BI rate going up, the BV rate came down. 🙁
As far as accepting without or with barely listening, it depends a lot on the type of library. A royalty free, website-based library may take just about anything and everything. That’s to be expected. If a library advertises themselves to be more discriminating and pitch major TV networks, I’d probably scratch my head a lot more.
In the end, it is the quality of your track, compared to others, that will determine its placement success (along with some luck, I agree).
Nothing wrong with being discriminating as far as where you put your music. It’s already a mess out there with hundreds and hundreds of non-exclusives pitching the same TV shows.
🙂
TAE
Yup, no news is bad news is just part of being in this field. With service like FMN, of course, you can’t follow up because they are blind listings. If everything is working as is supposed to, FMN subscribers get an email when their submissions are listened to.
Sometimes, I assume our tracks are not listened to because at some point in time, the listing party has found all they need. That frustrates people but I suggest taking it in stride, all as part of the biz. Again, anyone who is concerned can readily contact Mark at FMN and ask. He’s a good, accessible guy.
In the big pic, FMN costs me $11.95 per month + $1.99 per submission… Not a whole lot IMHO so if I get at least 1-2 library deals a year out of it, it’s worth it to me. Everyone has different views. What works for one may not work for another…
🙂
Overall, I’ve done well with FMN… Quite a few library deals. Yes, there have been many submissions that didn’t result in anything– some with listens, some without. But in the big picture, I’ve been pleased with FMN as a lead source. In fact, I signed some tracks with a library fairly recently due to an FMN listing. Sometimes you have to look at the big picture over the years.
Like Art said, if you have concerns, drop a note directly to Mark Northam.
It also could have been a cue sheet error that was corrected… Hard to say. I don’t think ASCAP’s new payment distribution formulas would cause the category on the cue sheet to change- just the associated payment. That’s my strong guess… Not Gospel… 🙂
>>>Winning in a competitive sport is achieved by upping your game, not by preventing the competition from playing.
+1 !!
Why do you NOT want to use your real identity? Curious… (Have you tried a phonebooth?) 😉
Seriously, I’m curious. Does it have to do with what comes up on Google searches?
🙂
Steve, was that 60K in the 2 years immediately following you uploading your tracks? How did it break down between license fees and PRO royalties? What were some typical license fees? What types of shows, films, etc used your tracks?
Regarding MS.com, I haven’t found it of value to ME. I’m always hesitant to criticize a library simply because my own tracks weren’t placed since there are so many factors. My gut tells me it (MS.com) just isn’t working as a business but to say I really know would be silly.
I always found their business model whereby they do not share in PRO royalties, only license fees, to be a strange one in today’s market. With license fees so small or non-existent in so many cases, it leaves me scratching my head. That is, unless they are able to focus on the really high end placements– feature films and their trailers trailers, network TV, etc.
I’ve had songs ‘locked’ for many years now because someone expressed interest. But that status never seems to get cleared and I would think if not placed by that end user within 2 years, it ain’t gonna happen.
I always keep in mind that those of us posting here on MLR might not be a good statistical sample of all their composers.
🙂
You do not have permission to view this content.Ignoring for a moment, the debate over whether or not one should have their tracks in multiple re-title libraries…
If there is technology whereby info can be embedded in a watermark or fingerprint, why can’t the composer and publisher ID info also be in there? Naive question…
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It’s interesting that TuneSat has this technology which appears to work very well but the PRO’s are so far behind in adpoting fingerprinting or watermarking for all music monitoring.
QUOTE: You should sign up to Art’s website for the answer.
This is called doing your own research.
Everrbody want the easy answer.
—-I have to agree with this. One thing that frustrates experienced folks who paid their dues researching and learning, making contacts, etc. is one someone simply asks for information handed to them on a silver platter. No implied tone in my post here.
And, in this case, there is a whole website (here) full of information related to what you are asking.
🙂
I think that’s a very difficult question to give a blanket answer to since so much varies from music to music and composer to composer. What’s implied in the question is that it’s the quality of the library, not the music and having the right pieces at the right time that determine all this.
Of course, there ARE differences in libraries and which ones serve which markets– the upper tier with network placements & sync fees, the lower tier royalty free ones, etc. But within those realms, some make more money on RF than others make on higer end ones.
If you read around this site you’ll see great differences between different composer’s track records with different libraries. The variations are all over the board.
Obviously, it’s always best if you read that other composers HAVE had actual placements through libraries to at least know they are in the game.
🙂