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I have had contracts like that which say that it covers any material you submit to them and they accept. So yes, contracts like that are out there. Ideally, I prefer the Schedule A route so it’s better documented. It’s a good idea to keep records yourself.
As far as the legal pros and cons, you’d have to ask an attorney. My own take is contracts are are mainly as good as the people behind them. MichealL might have some thoughts.
This is getting off topic and should probably go on it’s own thread but the subject of direct licensing came up.
Here is a little history: https://futureofmusic.org/article/fact-sheet/ascap-bmi-consent-decrees
Originally, direct licensing was created to benefit composers by not letting ASCAP/BMI have a monopoly. Obviously back then no one could foreshadow how it would come to be used decades later. Now TV production companies have figured out how to use this to their advantage and too many music libraries were willing to go along with it. Here in the US, we definitely need our representatives to step in and revise the consent decree/direct license laws. Sadly, getting someone in Congress to even understand what this is about is pretty tough. And we’re certainly not high on their priority list. It’s not like we’re farmers or rust belt factory workers that are large voting blocks. But we need to all be vocal and keep writing our representatives. Finding your reps, if you don’t know who they are is easy on the web. And they all have websites from which you can email them. We all spend a ton of time writing on forums. We certainly have the time to write our reps. I did it when the Discovery thing first became known and will keep doing it.Best wishes for 2020!
Sometimes you just have to lighten it all up and have a few chuckles. 😀
My predictions:
(1) MLR will go IPO and those of us who got in early will get stock options and make tons of money.
(2) LAwriter will become the eternal optimist (Followed close behind by BEATSLINGER). 😉
(3) ASCAP, BMI, and SESAC will increase PRO payments by 20% just because.
(4) Scorekeepers will stop doing Scripps placements and pay reparations to all.
(5) MichaelL will be nominated to take Judge Judy’s place when she retires.
😀 😀I don’t get angry, and just talk with my feet. “Deals” like that have no intrest to me, and I dont sign away music to libraries that does blanket deals either.
Just to clarify… There are libraries that do blankets which are VERY common but don’t do the Scripps type deals or if they do they at least share a portion of the blanket fees they collect with the writers. In general, it’s not BLANKETS that are bad, it’s what types of deals the library make and how the library handles them. But I agree we need to be careful what we sign. SK, for example, does tons of Scripps placements and often the writers never make a penny on any of the placements.
The main thing is: Answers should generally not be absolutes. Most things (or at least many) are not black and white, 100% bad or 100% good.
I agree that no composer should sign such a deal but I am curious what their explanation is, being it BS or not.
It probably means the library only does direct licensing. I’m not sure why the composer can’t be a PRO member– I could see why the *tracks* can’t be registered with a PRO. Unless the library is based outside the US and laws are different where they are. I’ve run into some situations where some non-US PROs have restrictions against direct licensing. I would at least ask them to explain.
(Not saying direct licensing or this library is good… Just trying to help understand the situation)I think this was answered already, but always go with total openness and honesty. Besides it being the right thing to do, getting caught in a lie or omission can really hurt your reputation.
If you told this library the other non-ex ones you are in and as a result of that they won’t sign your songs, you are way better off than should they find out you lied. And you have the relationship so you can pitch them others down the road.Here in the US, I usually pay $100-$150 (Usually $150 min. for a good vocalist) for a session and of course, have them sign a work-for-hire release. That being said, if the amount of work is more than a typical session, I could see paying more. By “session” I mean one instrument or a vocal performance (lead + harmonies) on one song. Everything is negotiable.
Another option if you are asking someone to do something that is more work intensive and really “makes” the song, you *could* offer a co-write. However, my practice is co-writes are always equal shares, the way most professionals do it. So it would be 50% (IMHO). A downside is they would have to sign off on any future contract for the song. Most do that easily but once in a while you get a PITA person.
The reason for “The Broad Strokes” is because unfortunately we are living in a day and time where companies would rather “Troll the forums doing damage control, and harass the patrons; rather than actually doing good business”.
By companies, you mean the libraries? I think it’s off the point I’m making about different types of music, different types of markets, and how different strategies work for different people. It’s off topic with edge of an ax to grind with music libraries. I’m not even sure how my “broad strokes” comment went this direction.
I see very little of libraries trolling the forum and harassing patrons. In fact I can’t recall any harassment. I’ve seen libraries come on to defend themselves, sometimes rightly so, sometimes not so much. There are way more posts by people critiquing and sometimes beating up on libraries. And BTW, I’ve also seen tons of posts giving libraries bad press they don’t at all deserve.
All I’m saying is when someone give advice on how someone else could succeed, it’s important to know more about where they are musically, what kind of music they make or want to make, what their goals are. what they’ve already done, and so on. I wouldn’t tell a newbie who just got his/her first DAW and a mic to go out and get a music attorney (exaggerated on purpose). What I’d say to someone writing vocal songs is much different than what I’d say to someone cranking out instrumental cues for reality TV.
Isn’t this pretty simple? Anyway, Happy Holidays. 😀 (Last post on this thread for me so it can get back on track about courses. Arguing never has a happy ending on forum threads)
No offense to MLR, but it “seems” that the more recent posts have not been nearly as accurate. Seems to be a LOT more Spoiled Brat Mentality lately; and Libraries have been getting some really bad reviews (That don’t deserve them) due to people being disgruntled about not being accepted.
I think that was MUCH worse when MLR first started (Been here since the start, maybe you have been too) and has actually quieted down a lot more recently. It’s one reason why I hate the ratings and wish that would be removed from the site. People give high ratings to libraries that accept their tracks, no matter how good or bad the tracks are. Highly selective libraries, usually the ones you want to strive to get into, get low ratings because people don’t like being rejected.
It’s important to remember that not everyone has the same goals/interests/targets and/or already has the skill to make marketable music for Film/TV. (Yea, I know “marketable” can be grey)
Market-wise: RF libraries, Broadcast libraries, scoring for film, etc.
Skill-wise: composition, sounds, productions, vocals, lyrics, etc, etc, etc (not limited to)
Sometimes I see a lot of painting everything with a broad brush here.We know that success depends on 2 facets: (1) The music (2) The marketing. Studying libraries and sending submissions is good but there are those who also need to work on the music end. I meet people getting into this who don’t know what a cue is, how to make virtual sounds realistic, song/cue structure, universal lyrics, and so on.
At times, I see too much focus on #2 (Well this *is* Music Library Report) with the assumption that the person already has #1 down. This is especially true from people who already have some or a lot of success- they lose sight of what’s it like to be at that level.For people who are making marketable (again, grey I know!) music, researching libraries with a resource like MLR is great and this is a great resource. For those at entry level on the music side, the forum here has some info but by the nature of this site, probably not enough. That’s not a criticism of MLR at all which focuses on the characteristics of libraries.
So, although I don’t love paid classes, if they do the job for the initial push-start, OK. But also, for those who need it, forums, on-line research, Facebook groups, in-person networking (conventions, etc.), and even that mode of transportation company we don’t talk about it, can be invaluable. Not saying the 2 facets are mutually exclusive and some/all can’t be done in parallel.
So, in summary, questions here are sometimes answered with a lot of assumptions and the broad brush approach doesn’t take into account how what works for one may not work for another and vice versa.
Happy Holidays and Happy New Year to all! 😀
Back to the subject at hand, on this thread I think boinkeee2000 said it best regarding paid
“how to” classes.Beatslinger:
3) If you want to get there the fastest? Put Your Bread up, retain a great Attorney, and let Him/Her Shop You. You probably still won’t get any further than “the method of earning Your Stripes”; but You will see if You have what they are looking for, or possibly not looking for..
That wouldn’t be possible for someone just starting out and learning the business. No decent music attorney would even take them on as a client. And the cost would astronomical.
Regarding courses. I despise the way many make it sound like you can just snap your fingers and huge sync fees will start rolling in. We know that is pure crap. OTOH, as someone else said, if you are new and want to get started in Film/TV music, there is definitely something to be gained. For example, there are artists out there who are just discovering that Film/TV is a possible revenue stream but don’t know a thing about libraries, how to target songs for Film/TV, etc. So as an *introduction* to the business, it can be worthwhile if you ignore the hype.