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It depends on the library and their track record, their relationships, etc. I know people who’ve written to a brief, given the track away exclusively, and it paid off. But yes, it’s a risk. My feeling is never say never, just decide on a case by case basis. There are libraries I would consider this with and many I wouldn’t.
The good news is no one is forcing anyone to do anything. If a deal is not for you, just pass on it and move on.
Just to be clear…I am NOT that Michael and I have no affiliation with the [removed] company.
Besides, I’m rarely pleasant.
_MichaelL
I can vouch for that last statement!! LOL! 😀 (Just razzin ya, my friend!)
Well, Beatslinger, I guess everyone I know who has attended, mentored, taught classes, and/or was on a panel is owned money. Not gonna argue about it. All I can say is I have tons of first hand experience here.
I’m done.
Positive or negative, I have a hard time with just plain disinformation. I know first hand that people attending or even teaching at the conference are not paid to be there. I have personal relationships with many dozens of people who were and will be attendees, teachers, mentors, panelists, etc. and they do not get paid.
Second, the company has no “board”.
It’s fine if this company is not for you but get concerned when things that are outright false are posted.
Danny
A big part of the “fit” is for people who are just learning how to make music that is suitable for Film/TV. That company provides feedback on submissions and a lot of educational services to help members get to the point where their music is library-worthy. Tons of folks out there are nowhere near where many people here are. Composers who already have lots of library contacts and are already putting music in catalogs, getting placements/sales, etc. may find less value though I’ve seen even experienced folks gain plenty. This is not a promotion for the company on my part, just clarification. There is a lot of misinformation out there.Michael, my friend 😀 Please don’t call these companies, “libraries”. And not true… Many of them do take cuts of submission fees. I won’t mention names. The only one I know that doesn’t is the [removed] one and I give them major ethics kudos there.
Best,
AToby… Not all these services have the listing parties share in submission fees. One reputable one I work with does not. Personally, I don’t think services sharing submission fees with clients is ethical as it creates an immediate conflict on interest as far as running a listing at all.
Danny… Both. Services may list for libraries and/or direct to music sups.
I’m still worrying about royalties during life! 😛
It’s important not to call pay services LIBRARIES. They are not! Never pay to submit to actual libraries.
However, when it comes to paid services who connect you with libraries or music sups, there are both good ones and bad ones out there. I won’t mention names. I will say that 2 of these services were very instrumental (no pun) in getting me started in this business and I am very grateful to them. 😀
I find this varies from library to library so you have to as them. Unfortunately, the terms “alt mix” and “stem” get interchanged and used incorrectly by lots of people including libraries as well.
In theory, an alt mix is a track that is stand-alone, to be marketed as an entity to itself, not a part to be re-mixed with other partials. But a stem is part of a track intended to allow the editor to do a new mix from some or all the stems.
Most of the reality TV cue libraries I work with want alt mixes as stand alone. No blank spaces up front, a proper ring out, mixed to sound good alone, etc. There is no concern about all the alt mixes lining up to be mixed together. However, some libraries really want them more as “stems”, allowing editors to make new mixes. **Usually**, that only happens with high end placements such as feature films but there are exceptions.
The bottom line is ask the library for their specific requirements. The only standard is there is no standard. 😉
HTH 😀
ASCAP finally has restored episode counts!
🙂 🙂 🙂
Please see the other thread on here started by glengomezmeade.
Music Publisher Not Registering My Work With BMI as Promised, Will I Get Paid?
As others said, just be patient. Many publishers don’t register tracks until they are used or even a few months after. Remember, PRO payment domestically is typically 6-9 months after broadcast. And the PRO’s look back 6 months after that.
Welcome Amanda! 😀
You can check out any time you like but you can never leave…
😀 😀 😀
I think the problem was LinkedIn is it’s a vast wasteland of everyone and his brother (so to speak) making connections with everyone. For me personally, I find the site worthless. Others may disagree. My guess is you’d still probably have a better chance of getting a conversation going with a library exec or sup through direct email. For libraries, as you know, you can email through their websites. For sups, there are plenty of directories and lists out there.
My understanding (limited experience!) is success as far as contacting sups is not having a way to contact them but having done tons of homework on what they may need NOW and knowing what to say to and show them. They have thousands and thousands of people just like us up their butts all the time.