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Ozone
@Del. I think you have to take “fairly easily” with a grain of salt. I’m sure there are composers making that but as in any business it’s a small percentage compared to the number of players in that business. There are also composers that claim to make $70k to $100k in the RF world. That’s probably true also, still a small percentage of the composers out there.
I do believe the chances are better to make more money with a top end exclusive library as opposed to non-exclusive or RF site. Then only if you get into the right library with the right material and all the stars align. That’s a big IF! The other percentage you might think about is how much music is sitting in exclusive libraries, literally for years, not making a dime, or very little, because the stars did not align.
Depends on the library but the most consistent for me has been Hip Hop, on one particular site, generally just one particular track. Probably not really authentic Hip Hop but has the vibe. MichaelL likes to point out that many clients look for genre “lite” so this would most likely fall into that category.
Thanks JD. Please let us know how it goes.
Thanks Marina, I had thought about contacting you about that and probably will. I know a little bit about the history of your company and am very curious how you would “metadata” some of my music.
Any ballpark figures on price?
AFIK (pulled from Shockwave’s site).
* Rumblefish * CDBaby Sync Licensing Program which submits to Rumblefish * AudioSparx “internet royalties” program * AudioMicro * AdRev * The Orchard * GoDigital & Social Media Holdings * Kontor New Media * IODA: Independent Online Distribution Alliance * Magnatune
Do you use a new title and a new pseudonym for each library you submit the song to
I use one title for mid level RF libraries, another for higher priced RF libraries and another for the TV placement type (and my own) libraries. I have a database that keeps track of it all. Keep em guessing!
No pseudonym though.
There are many that will only submit a song to only one library and treat exclusive the same as non exclusive. There are some that have the same track in as many libraries as possible.
This has been discussed many times on here. I’d say some composers feel one way some the other. Probably 50/50.
BTW, here’s a good source for a sample license agreement.
How much to charge: I was thinking I’d look at the music libraries that sell my music to get an idea, depending on type of use. Does that sound reasonable?
You could most likely get a higher price than what the typical online libraries offer.
Second: contracts/etc. My music is registered with BMI, but shouldn’t there be some kind of contract involved?
You would want to issue a license to the ad agency detailing the terms, price, use, length of license. If it’s going to broadcast than you would file a jingle data sheet with BMI. E-mail me through the contact form and I will send you a sample contract.
Oops…don’t know if I was supposed to mention the specific company name above…apologies if that was a no-no
You are right. Please don’t. Keep it in the library’s listing.
Check out: http://www.tagteamanalysis.com/. Haven’t worked with them though.
@Del “Sorry there’s some arrogant people on here that just like to diss others so I will go elsewhere.”
That’s an overstatement. I don’t know what “TheOne” meant but that was the only questionable statement I saw here. You might have asked “TheOne” what he meant. It sounds like you may have a very thin skin which will not serve you well in this (or any) business.
woodsdenis said: “just nabbed Evolve Mutations 1/2 for half price.”
Thanks for the tip, grabbed that also. Great deal!