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I’m still in the non-exclusive camp as my PRO money is almost all non-exclusive and grows each quarter. A good chunk of that is from Jingle Punks (and yes I see stuff on Scripps every day, sigh…).
“Is that through wordpress Art? My problem is that I have composer accounts, which have to all have privaleges to upload to the bucket…”
Yes, I’m using WordPress but I use S3 only for my own songs. I could imagine with other composers it would get complex.
“I looked into Amazon S3 hosting – its relatively cheap per GB, but getting it implemented to your website can be pretty expensive”
Hmmm, not the case for me. I use Synhosting to host my site for about $100 per year and use S3 to store all the preview and master files. S3 didn’t cost anything to set up and they charge for traffic which is very reasonable. Just set up your buckets on S3 and call the links from your site. Works great!
[Edit] To clarify. I set up S3 myself and it’s a bit tricky but not that hard. E-mail me and I’ll try to help you.
Here’s an article I ran across at Audiosparx about what they do as a music library. Certainly worth reading when contemplating starting up one’s own library. http://www.audiosparx.com/sa/faq_article.cfm/kbarticle_iid.2064
Thanks MichaelL for posting that. I was going to say pretty much the same thing but you said it so much better!
I’m still working on my library site. It’s been a couple of years and I thought I could get away completely free. It will probably cost me about $1k as there were a couple of features I wanted that couldn’t be met by existing plugins. The good side of my taking so long is that I am learning more and the site will be much better for it.
It’s a ton of work following this path. I find I spend the mornings with admin work and the afternoons with writing. Now where is that intern when you need one!
I’ve thought a lot about it and almost went for it a couple of times. I really want to build my own though. If you don’t have the time or don’t want to build your own I think it’s a great solution. BTW I know the owner and he seems very straight up.
About average for me with the exception of one which is slower than usual.
Glad you got some resolution! Good luck with the tracks!
The only way that I know of is to have a Tunesat (http://www.tunesat.com) account. They detect uses 24/7 but expensive if you only have a couple of tunes. You’ll just have to wait until you get your statement from PRS. That will take a few quarters.
Have you thought about talking it over with the folks paying the demo fee? Maybe that’s not comfortable in your situation?… Might be worth a try if it is.
I occasionally submit for ads through a production company and there’s usually a demo fee involved. The first time around I asked what was expected and they were quick to let me know that the tracks are all mine if they’re not selected for the particular use at hand. I’m not saying this is universal and, of course, MichaelL knows the legalities, but from my experience it seems like a common viewpoint.
Here’s another thought: If the demo fee secured ownership there wouldn’t be much point to paying anything beyond the demo fee. Just call a bunch of composers and buy out their tracks with demo fees… I’m glad that it doesn’t work that way! From my experience the demo fee has always been compensation for taking the time and effort to make a track, nothing more. Also, think about this, unused tracks actually have a value to the production company that makes demo fees worth it to them. If they can present several high quality tracks for their client to choose from then it makes them look good to the client. Only one track will get picked but all of the tracks help in that scenario…
I’m not a lawyer but I would think that once money changes hands you have an implied contract. The only clean way would be to get it in writing that they are assigning all rights to you. But then you might have to pay back the demo fee.
Of course it only would become an issue if there were big bucks involved somewhere down the road and it was worth suing for.
No worries bigg romme. He just was not a guy I wanted to be around. For those who would like to catch up on that conversation you can find it here: https://musiclibraryreport.com/library-practices/general-question/comment-page-65/#comment-19282
I tend to keep mine the same. My thinking is that if a client edited different sections together there would be a better level match. But I could be all wet. Also, there could be no “right” answer.