[Art Munson]

Thanks for your response!
I’m sorry, but are the n umbers in your
post references to past posts?
I’m new to this site. How do you find the posts if so?

Thanks
Roz
funny btw.

[Art Munson]

The below is from Abby North that was posted to the wrong section.
———————
I’ve been thinking about this post for a while, and figured I’d add my two cents. I own a music library (SSPMC), and I also do music supervision, mainly for networks that most of the production libraries have blanket deals with.

It’s incredibly easy to make a mistake with a cue. So many are submitted both to my library, and to be considered for shows I’m working on. As I import submissions into iTunes, I always try to put a prefix on the file, indicating the source and whether or not it’s clear, but I’m human, and therefore fallible.

I also try to delete every cue I’m not adding to my library, but again, it’s so easy to make a mistake in managing tens of thousands of cues.

If you have submitted a cue to a library that inadvertently got it into a show, I think the most effective plan would be to alert the library that your cue was submitted by them to a given show, and let them do a non-exclusive deal with you for that one show.

I highly doubt anyone intentionally used a cue without having a license to do so.

[Art Munson]

jimandroz:
What is a reversion clause?
Thanks!
Roz

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Any rights you sign away in a contract revert back to you after a specific time or if certain criteria isn’t met (as an example, an income threshold or placements).

[Art Munson]

What is a reversion clause?
Thanks!
Roz

[Art Munson]

You already know but for future placements check both royalty sheet against PRO.

[Art Munson]

@Alan:
You could check your bmi/ascap statement against whats registered at your PRO
and see who the publisher is.

[Art Munson]

A friendly e-mail every now and then to check the status.
Until you sell some tracks to see what works keep the e-mails to a minimum.

[Art Munson]

Hi Roz:
Look at ratings for no.1 library by composers.
Give the exclusive 2 years and then opt out if possible.
You may not make any money until the 3rd year.

[Art Munson]

Hi Dan,

This is great info! What I want to know is who is the lib that sells a piece of music for you everyday!
Yes, I have been trying to target the companies that sell the kind of music I have. I have been at
this a year and have 67 tracks. I just now started to get into the european market (london) and
think this has potential.

I am in an exclusive library, but they haven’t sold anything yet. My question is….how long
do I give an exclusive library rights on my pieces if they haven’t sold. Should I give them a year?

Thanks for your help.
Roz

[Art Munson]

Roz:
There are so music libraries. Is there really that
Much demand for music in these venues?
Do they all make a living?
Thanks
Roz

I would say some make a great living and most struggle.
Its learning the business and finding what you do best
and who sells what you do.
Like Art said you have to try different things depending on what your music is and where it can sell.
We have music at a handful of sites with just 70 tracks and sell daily at one of them but thats just started within the last year.We also have an exclusive deal that sends us money every quarter from sales at:
non exclusive sites we can upload ourselves too.Whoops,found that out 3 years later.
Exclusive can mean you submit the music.
No other work involved.They do the rest including marketing and tagging your tracks,
so there is something to be said for that if you dont want to do it.
World Music?Hmnn if thats all you do you’ll want to find libs that either need that kind of music or other sites that can sell your style of music better than others.
You’ll have to inquire as you go and cross them off the list.

Dan P

[Art Munson]

gdomeier:
I won’t die if you have they have to be on

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Who needs pretty pictures, LOL!

[Art Munson]

gdomeier:
Art, all posts have a square image by the name of the user that started the topic.Most of them are blank, and the ones that do display (such as yours) are the MLR Report one.

Any chance of not displaying them?

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The only easy way to do this is to turn off “avatars” on the whole site. Not a bad thing and probably makes the site a bit faster. I’m sure someone will now want the “avatars” turned back on! 🙂

[Art Munson]

Robert Safir over at Linkedin left this answer: “Art, if you use ASCAP’s Quick Form, you simply need to add the publisher’s share (50%), and not state the territory. I haven’t used the long form for this, but I imagine you’d want to put US, Canada, and World.”

[Art Munson]

Depends on the library. A higher end library might do it but generally the composer would.

[Art Munson]

jimandroz:
Thanks Art! This is very helpful.How long does it take to start seeing sales like the ones in the article,if you’re good.
Roz

P.S.Do you know the best World Fusion libraries?

---

There is no way to know that and “good” is a relative term.

Not to be evasive but what works best for one composer, and a library, could/would be different for another. It’s all about a lot of cues with patience and persistence, spread around a number of libraries. You really need a few hundred and be at it for a few years. Probably best with 1000 to 1500 tracks (I’m at about 400 and been at it about 6 years). There are a lot of variables so YMMV.

Don’t know anything about World Fusion libraries but I’m sure someone will post here.

[Author]

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