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Actually, it is a valid question because even if the library that goes out of business was non-exc, what if you now what to sign the track(s) with an exclusive library? You might have an issue because you are not sure whether you can truly enter an exclusive contract. What if there were placements you weren’t aware of? What if there are still hard drives floating around with your track, previously paid for under a blanket license?
Don’t have all the answers but I would definitely be careful before signing any exclusives for the track(s). Of course, if you only wanted to sign non-exclusives, it’s moot.
I’ve had good luck over the years with FMN and I still submit at times. I definitely have a number of library deals (and some placements) that are a result of FMN listings. I avoid the ones that are “one off”, low budget indie films.
Regarding HL (mentioned by Bob above), the biggest weakness is even if you get a license, you don’t build a relationship with the client. Relationships are everything. I much prefer to make contact with a library that I can keep submitting to and who will pitch my tracks for years to come.
PS I don’t want to get into any “pay” debates or detailed discussions about the merits of particular companies, if they are legit, etc. Just chimed in because these 2 were mentioned above. 🙂
Glad that Art chimed in and corrected me (in a way) showing how keywords could be part of the title. Personally, I haven’t done that as I’ve always relied on tagging to all that. But I see a great “best of both words” approach was suggested!
The edits naming isn’t an issue. But I think the main track name could be better. What you have for the name is more the keywords. Instead, I would come up with a title that represents those things but isn’t just a rehash of the keywords… e.g. “From The Dark Shadows”… Not so much a literal suggestion, though it could be, as the concept. Making the title interesting can help.
I did it! I quit my day job and started making a full time living with Rehegoo !!!! Wooo Hoooo!! All this since 9pm this evening!!! 😛 😛 😛
This thread has wandered a bit.
Anyway, my feeling is getting library names is easy. There is MLR, plenty available with Google, and you can network with peers at various conferences, collaborate with them, etc. The real challenge is making better and better music that stands out in the markets you pitch it to. JMHO FWIW
Chuck:
It is rare or nonexistent to here someone mention high end libraries here insomuch as placing their music.
I’m confused. The thread is about non-exclusive libraries. Higher end libraries are pretty much never non-exclusive.
But I’d have to admit that if I WAS in higher end libraries (I’m not), I probably wouldn’t share the names on forums either. Sadly, not everyone is a true professional and I wouldn’t want to contribute to libraries getting calls or emails with, “Hey, I got your name on MLR and have great music for you to hear!”. So I’m agreeing with you as far as people’s reluctance to share. I’ve observed so much non-professional behavior over the years so I only share a lot of information with trusted folks.
Oops I did forget to mention that those non-exclusive libraries that got me reality TV placements to date (JP, SK, MIBE) are no longer non-exclusive. So if you are not already in those libraries, you can’t enter as non-exclusive. For non-RF, there really aren’t a ton of non-exclusive libraries that new composers can get started with.
Great points by Michael L and others here!
What happened? I made a long post, edited it (made no change actually) and now it’s gone?? Art? Is it caught in a filter?
I wasn’t being coy or protective. I was just commenting that different people have different goals, types of music, etc. And everyone defines success (or “best”) differently. For some, making a few hundred a year back-end on cable reality placements is success, while others would snub their noses at that. And my observation regarding RF, based on what I’ve read on MLR (I don’t do much RF) is results very incredibly wildly from person to person.
I’ve also observed that someone who got it 5-10 years ago with a given library may have way different results than someone first getting in that library now since the catalogs have become much more full and the competition is stiffer both for new tracks in the library and with other libraries.
But there is no reason to hold back library names on a site that is all about library names (for paying members). For reality TV cues, for me it’s been JP, SK, and MIBE as far as getting placements, even if they pay is often low. For non-exclusive network TV placements, for me it’s been Crucial. Crucial is a rare breed, a diamond because it’s one of the few non-exclusives that does higher end (or at least middle-end), sync generating placements. That being said, it’s not always easy to get tracks accepted and, as with all tracks in libraries in our business, it can take years or never to get a placement with a given track.
What Art said… In production music, there are different markets such as RF, network TV, cable reality show cues, etc. And a lot depends on the type of music you make. Many variables so one person’s top 10 might be someone else’s bottom of the heap or vice-versa.
How much is the upfront fee? Compare that with how much money your tracks typically earn lifetime on split sync fees (on the average).
Happy Holidays! Best wishes for ’18! 🙂
The best “Music Wanted” lists come from the libraries themselves you build relationships with. Some libraries, once you sign with them, will put you on an email list for when they are looking for certain types of tracks.
Also, I suggest trying to get into some of the smaller more “boutique” libraries for which you can OCCASIONALLY email the owner as to what they might be looking for right now.
And finally, when you go to music library sites and see what music they have, don’t think as much about what the DO have a lot of, look for niches that they might need to fill.
Remember, there is no shortage of excellent music out there.
I totally respect your opinion, Gael. However, had I never paid for submissions (2 services come to mind), I would never have had the placements I have today. Not looking to re-open the long, painful debate here but there are different ways to skin the cat or at least begin to skin the cat.
Watching the news about Harvey, IRMA, etc. puts things in perspective as to what really matters in life. We call get caught up in the day to day stuff and lose sight of how fortunate we are if we have something as simple as a roof over our head. My best thoughts go out to everyone in the path of these disasters. Right now south Florida is right in the path of one of the worst storms ever. My thoughts are with you. If you live in Florida and are an MLR-er, please check in and let us know how you are if at all possible. Be safe.