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So… doesn’t that mean that I don’t need to register any of my songs with BMI if the libraries are supposed to do that … If my music is going anyplace that will not register with BMI (Like direct placement in a movie, etc), that’s when I should be registering my songs, right?
Pretty much you got it. Register your title and let the libraries register theirs.
@filmmusic. No problem.
@filmmusic. Per the note on the home page we do not discuss libraries on the forums. Please see “Specific music library questions/comments”.
That particular library is artist centric and we try to keep the discussions, as much as possible, on production music.
Thank you
Seriously, kudos to Art for running a tight ship, and his everlasting tolerance.
Thanks for the kind words Denis but I have learned so much from all the years of wisdom that many of you bring to the table.
I wish there was a filter or section just for production music composers, not song writers.
I try to keep the focus on production music, particularly with the library listings, but there is some crossover. There are more than a few sites I have not listed that appear to be artist centric. Still it’s sometimes hard to know where to draw the line. CM comes to mind as an example.
Real production music composers should take care to protect their music and not put it out there for every tom dick and harry to download for nothing. Your catalog is your livelihood, you need to protect it.
I totally agree but as to most things in life, there is a learning curve. 😉
Which means that if you are selling the same tracks for $0.99 on CDbaby, you are undercutting yourself.
They are not and just stopped the AS compilations. Fortunately there are not that many on the compilations.
We currently have composers who are selling their music for $49.95 on our site and for much less than $0.99 on iTunes via AS compilation albums.
Yeah, I somehow got on those AS compilation albums and not sure how I did. Most likely my not paying attention to details. Thanks Mark for reminding me about something I’ve been meaning to do for a while. Getting off of them!
In St. Louis there is an organization called VLAA – Volunteer Lawyers and Accountants for the Arts. I think this exists in a lot of other cities as well. If your income is below a certain level, you can consult with one for free. Otherwise, for a small fee they’ll send you a list of lawyers in the area that work in the arts.
When I first got interested in this field, some advice I heard was to have a lawyer look over your contract and explain each paragraph to you. Since most contracts are similar, you can pretty much understand ones you receive in the future.
If anything in a contract seems unusual or fishy, you can post a question on this site to get input from people with more experience.
“So Art; Do you make all those by editing your stereo mix?”
I usually can. If not I can go back to project files for bits I may need (seldom do that though). These alternate mixes are mainly for RF sites and they do sell but I think more demanding libraries would want them a bit more finessed.
So Art; Do you make all those by editing your stereo mix? Seems like sometimes that would be impossible. And some libraries want distinct beginnings and endings to all edits. No way I could do all that from a stereo mix.
Eb
Bed to means no melody (vocal or otherwise).
Here’s what I generally do though there can be variations.
Full
DnB
Bed
15 Second
30 Second
60 Second
Loop
Stinger/BumperIn my experience stay away from anything Scripps.
http://www.scrippsnetworksinteractive.com/
HGTV, DIY, Food Network, etc… All direct license AFIK. Also I don’t think ESPN pays any back end. Someone will correct me if things have changed at those networks.