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I added a website this year after much deliberation. $144 per year on Square Space.
I did it because everyone knows how cheap and easy it is to have a web site and I always felt a little embarrassed using free SC to demo my work. I expect no traffic, and get little to no traffic. I have used it to demo my work, and I occasionally put a link at the end of my emails.
A lot of library writers put up art work from shows on which they’ve had placements (as if they actually had something to do with the show). I’m not sure anybody really believes that, or cares, but it looks nice.
I do have a page of pretty logos from all the shows my tracks have been placed in. The page header is “Alan’s original music has been placed in:”
I don’t see a problem with that. All the libraries that place the music do it. People in the business can quickly see that I successfully write for successful libraries.
Considering what I spend on equipment and software, the cost is negligible and I’m glad I finally did it.
Subwoofer location and room characteristics will likely have a huge impact on what you hear too. Bass frequencies will bounce off room barriers creating nodes and anti-nodes, aka standing waves.
I used to teach live sound reinforcement. Here is a fun experiment that will demonstrate standing waves in a room.Play a 50Hz sine wave VERY SOFTLY. Walk around the room. You should find places in the room there the sound drops to near nothing and places where it gets much louder. Check room corners, high and low etc. Try it with an SPL meter too. I have measured 10dB+ differences in level of a bass note in a within 5 feet of each other.
Now change the frequency to 55 Hz and all those standing waves will have moved to a different location because the wavelength is shorter.The point here is that, with a subwoofer, what you hear in your mix position may be very different from what is actually happening. If you add a sub to your studio, don’t send any new tracks out until you’ve played them on several other sets of speakers. Play them in the car, a cheap portable device, etc. and compare your bass level commercial music.
I spent 6 months trying to get used to a sub in my studio. I built and bought several bass traps and moved it all over the room. I finally gave up, the room beat me.
I invested an pair of Genelec 8040A’s. They are 48 Hz – 20 kHz (± 2 dB) which is all the low end I need.
Good luck with that sub!I got this response today:
“Dear Member, Thank you for you comments. We are working on the cue sheet count page. Please stand by for updates. Best”
I’ve emailed them about the episode counts too. I had a new cue sheet today. In the past I would have found it and updated my records in 5 minutes. Now, it’s a daunting task. Maybe I’ll search for the new ones when I have 5 or 10 of them.
I can relate Shannon. I had a 23 second promo air over 2000 times on MSG (Madison Square Garden) and NHL channels last spring. I submitted a claim to ASCAP a month ago today with Tunesat audio and data. No reply yet, but I think it will be a waste of time.
I’ve often wondered about whether the strategy of uploading tracks to as many libraries as possible actually works or if our time would be better spent writing more tracks.
I am one who uploaded to Sonitarium after reading positive comments about the owner. I have since vowed to stop submitting to unproven libraries. A good looking website will no longer deceive me into thinking a site will sell music. My writing speed/efficiency has improved to where it’s not worth the time trying a new library.
That said, is there a consensus regarding the non-exclusive Royalty Free libraries that do well for composers?
For me, the only RF library that generates significant income is P5. My monthly P5 income usually will surpass my quarterly AS and my annual ML and TF income. I don’t submit to any other RF sites.
My PRO income is a little less than last years, a 1st for me. I’m pretty sure my P5 income will surpass my PRO income, another 1st.
Of course I still submit to four broadcast libraries too. I try to keep those NE, but will do exclusive when required to. I try not to put a lot of time into exclusive tracks, 4-8 hours at most is my goal.
Yes, I just saw that. Now I know I have one new episode. Now, to find it ….
Hey Art,
Aren’t you buddies with president Paul Williams? Perhaps you can share this thread with him. It never hurts to go straight to the top, right? 🙂I’ve done a few PD guitar and piano things and I’m not too concerned about it. If you are recording a Sor study for instance, check the arrangement you are recording against the same study from other sources. If all the notes and rhythms are the same, who is to say what sheet music (if any) you played it from.
I’m no expert on copyright, but I have always presumed that copyright on printed versions of unaltered PD classical works is limited to the actual sheet music, not the underlying composition.
If you want to play it safe then only submit PD music that is already available in one or more reputable libraries.
Side note: Crucial insists the composers must have died prior to 1917 on PD tracks.
I’m glad I’m not the only one who misses the episode cue sheet count and episode totals. I use those daily. Is there any way to see if a new cue sheet came in? I dont see one.
I already emailed them. I wonder if I was the only one? 😉Congrats Kevin! You’ll never forget your first :
😉Mine was about average. I expected more so I was a bit disappointed. I was surprised to see royalties for a promo on CBS that aired 9 times. I was unaware of it. It was 10 seconds long and paid between $3 and $9 each depending on the time of day. Hopefully it continued into the next quarter.
Now I will hope next months international payout is strong. That one is always a surprise.You all have my hopes up for my ASCAP October payout. I have hundreds of Tunesat detections since 2014 on Reelz that have gotten me zero $ domestically, and only few $ internationally. ASCAP says Reelz is survey only. Is that the case with BMI also?
Q: What doors do you wish were open?
To piggyback on what Music123 said….
I started a thread earlier this yearPMA needs to understand most of us cannot make a living from PRO only, yet so many libraries insist on exclusivity. If one library would,out of respect for the composer, agree to let us sell our tracks on ONE and ONE ONLY non-competing RF site, I think it would be a game changer.
Do any of the libraries that supply music to TV and film really have clients that sift through RF sites shopping for $40 tracks? I don’t think so. And do the video producers that do shop on RF really use PMA level libraries?
The composers all seemed to feel it’s impossible, I disagree. I would expect the non-exclusive model would have been considered laughable no too long ago.
How about this TAE Music, ask your customers how they would feel about it. Would they really have a problem if the music they bought from you through a blanket license was also available on a RF site, as long as they were NOT getting the same music from another blanket license they bought?