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So basically composer’s effort on promoting his site versuscomposer’s effort on getting his tracks to libraries, tags and discriptions ,as I see it
big plus is,composer gets the whole fee
What can happen also that ifcomposers sell cheaper on their site the same tracks as selling on other RF libs ,the customers mightl end up buing it from composers on their site (unless of course they are getting it through some kind of blanket deal with RF library)
This will seem advantageous to the composers since the customers will be windowshoping in RF libraries and buing at the composer’s site ,cool
Though not so sure how the RF libraries will react to this kind thing if it picks up.
But here I see another bussiness model emerging,Rf libraries turning into sort of showcase sites for composers catalogues and paid by comission of the sells or subscriptions instead of license fee split .(this might also solve the issue of google positioning battle which in this scenario wouldn’t have to be done by the composer )
oops, maybe I have gone too far now but who knows what future brings
Hi Mark ,looks like a good idea to me ,so 195 $ and one can have it’s own library ,so it will basically take care of programming thing.
What about the the legal and contracts with clients administrative matters ,will the composer be on it’s own or will there be some option going through Ml with certain split .
When I was thinking about starting my own library one of the discouraging issues was the different licensing contracts and legal papers hassle.
My plan B is going back to busking
Doest it mean something like that an artist can add to his site sort of player with his catalogue and tracks hosted on ML and when licensed ,the process is dome thrugh ML.?
sorry I,m kind of slow when it comes to web tech stuff.
I was plaing with the idea of making acoustic dubstep,no synths at all but get into warping, beat repeats and adding effects on the real woody instruments, strings and percussions
Although it would be very interesting and fun to do , I wonder if there is much market for it in Production music, in case if it’s not already done and something to copy.
My 2012 spotify honorary could buy me a new E string for my guitar , and I’m talking about the high one, for the low E it wouldn’t be enough.
usually 2 -3 tracks a week ,lots of energy in the morning after the cafe and when kids are out of the house I start setting up the mikes.
in the afternoon after lunch comes a dead time as to creativity , nothing until 5 or 6 pm so I go surfing or read if not then administration, internet,metadata etc. .
some tracks sit around for weeks some are done and finished in the week,usually record most of the track in couple of ours mooving from one instrument to other, that’s the most fun part.
Next day I select the best cuts from those and arrange them in the song structure and edit, add efx and mix.
I adjust the mix and master befor 2 weeks time.I had a thought on this too ,sort of music publishing house or agent that specialize in production music and libraries.
I would love to just write music and the give and then give tracks to someone who can shop them around the net better then I do . Loosing percentage on split would be compensated by having more material since there would be more time left for writing music which in the end I like and can do better then dealing with libraries and track configurations.
It’s no secret that talented composers are not always the best salesmen and vice versa.
I am with spanish pro SGAE and the tracks I have with pump started to apear retitled in my SGAE database with publishing split to pump,that makes me wonder if they also register them in other countries PRO’s.
However my tracks from other retitling libs. don’t appear in my spanish PRO.
I wonder , can you sign with BMI or Ascap if youre not living in US ?
I have been with spanish pro (SGAE) and not received a penny yet and I might have sold close to a hundred songs over last five years (PT,Pond5,beatsuite…)
and I doubt they were all nonbroadcast licenses ,I even saw some cuesheets along the way and still not cent from SGAE.
I wonder how efective are they in collecting foreign licenses or are they reluctant to pay composers and need to be chased with tunesat and phonecalls.