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My question was about this: is moving to ASCAP or BMI a mandatory move in 2019 to take in order to proceed in this career and to be more “attractive” to big big libraries?
From, what I have seen, it is not “Mandatory”. I have been seeing some great results from PRS, APRA, SOCAN, and SACEM.
I personally though have heard some bad stories/stuff about PRO’s in Denmark, Italy, Czech Republic/Croatia, and a few others..
Hey guys, I’m planning on submitting to some more exclusive libraries soon. I was wondering if it is better to submit several of the same style, or a group of different styles to show versatility.
Go with “Your Wheelhouse!!” Right now, to get onboard with the top companies “You’re gonna have to FLOOR them, or have a great Rep.”
You will always be able to submit more variety once you are in, and working.
To be honest, “in TV Libraries” there is simply no market for it right now.
We are in a time (Sad) where Gadgetry, Tricks, and Sound Design have taken over, and real music is at one of its LOWEST Places ever.
I have had Presidents/Execs of Libraries, and Library Owners send me “very heartfelt emails” telling me they loved my “Jazzy” pieces, but there is simply no market for it. They as well said they would rather not even attempt tying up the tracks, and them not selling.
I would say, keep writing what you love, mainly to keep your chops. Then, just stock-pile them, and wait for an opportunity to happen.
Also, just so I am honest. Jazz infused tracks, and more complexed chordings/arrangements don’t do well in “TV Libraries” BUT they do really well for Movies, and Branding. I have been getting my Jazzy pieces placed there.
I’d like to know your opinion on this.
Only an “opinion” and not meaning to be demeaning.
“I personally”, would choose BMI
Would it be fine to have the exact same guitar tones and drum samples for the whole album? Or would libraries rather have you mix up the guitar tones a little bit?
I JUST had this conversation with someone from UMG concerning “Guitar Tones, and Keyboard Patches they were WAY too similar”
They “Literally” sent me back to the drawing board on a Guitar Solo, because the Tone was too similar to another Guitar Tone”. This was ONLY 2 Songs that were similar. Could You just imagine if a WHOLE Album sounded too similar?!
Might I suggest “Doing a Template, but using that Template for multiple Library/Catalog submissions; and not going towards the same Album on the same Library?”
Is it the same as the “Music Library” section?
Yes, I believe BEATSLINGER meant libraries.
Yes, I was referring to the “Access Music Libraries” section on MLR.
BUT, Nope. I did really mean Major Labels. Most here already know. The Top-Tier Major Libraries (except APM?) are nothing but The Big/Top Distribution Hubs running “multiple divisions”; so that it “looks” like something different..
Libraries are really nothing but “Labels” these days..
Thanks so much BEATSLINGER, I really appreciate the help! I’m currently sending out my tracks to a bunch of different libraries so we will see where this gets me! I’ve been putting them on my own site to make it look a little nicer as well.
Keep in mind something that is VERY important. I gave You one of “The BIGGEST Tips” to successfully getting your music heard by the majors. “Be Heartfelt, Endearing, and Sappy Sweet” when “You Individually Compose & Tailor Your introduction email to the companies!!” I cannot tell you how many people “don’t take the time to write personalized, and “I did My Research and this is not some random Email. And/Or You HAVE to sign Me, because I AM The GREATEST Thing since Sliced Bread'”. Big Companies don’t want Big Attitudes, and Temperamental Artiste’s. They want “Can DO Attitudes, and I’m ALWAYS ready whenever, and however!!”
Does the N in R. N. sound a bit South American by any chance?
If yes, he has shown interest in my latest album. But, I was slightly disappointed by the fact that there’s no upfront money. But that shouldn’t be a concern in your opinion then as I’d make that up in the back end?
Yes, it does. Not knowing the situation, or knowing your music. I would say this. The person that I am thinking of is “Highly Respected”, and has “a couple/few” brand new ventures with a couple of the top 5 companies. This R.N? His People Eat Well!!
Where would I search for these Major labels to send music to? Is there a list on this site? Is it the same as the “Music Library” section? Either way I’ll start sending stuff out now.
The way I did it was “I read EVERYTHING” (Including all of the responses & replies) about the companies/labels in the “Access Music Libraries section”. I literally started from the numbers, and worked my way thru all of the listings.
In addition, I “googled” all of the “Top Production Music Libraries”, and “Submit to Top Music Libraries”. Then from there, I would reference them against what people said about them in the comments & threads here on MLR.
Access Music Library is a really useful tool; and to find the best information go ALL the way to the beginning of the comments. It seems people were much freer with their candor/comments; in the days where there was more Milk & Honey..
Is there any particular library or libraries that you guys think these would fit in?
BRO, You’re there!!
I would “widen” your search, and not just look for “Rock”.
This is “Sports, Adrenalin/Rush, and Hardcore Raunch”.Your style is simple/straight-ahead, very effective, and “polished in a not polished way”.
Go straight to the Major Labels. Just about everyone now has “Submission Info right on their site”. Write “an INCREDIBLY Totally Gooey, Sweet & Sappy Email; professing your Love, and how much You have aspired to be on their roster”.
Trust Me, IT WORKS!!l
Also, I would have signed You, myself. Just on the strength of “Fast Paced Metal!!” Put that first on your demo reel!!
I mention this cause I keep hearing things like ‘I’m the go to Rock guy for three libraries and that’s all I do’ etc. and wondering whether I’m stretching my self too thin by doing a lot of genres that I’m unfamiliar with?
I think the problem for me is when people talk down about a genre/style, but still want to collect the check from it. If You’re gonna do the music “Do it to The Best of Your Abilities; and not something that’s Tired, Typical, and disrespectful to the music”.
I’m willing to try anything. I like the challenge and it’s educating. I’ve done well enough stepping out of my comfort zone to continue.
Art, “when you know how to cook. You can work in ANY Kitchen”.
Could this influx of companies mean that the music in the top-tiers are aging and they need to replace a serious chunk of older material with new, shiny stuff?
It is not a matter of “aging”, because there is always a “need” for every style & every period of music. The Top-Tier have great relationships, and they need to keep suppling their customers/clients with new material.
As well, New Shows, New Content, New Campaigns & Branding that need something fresh.I personally have material that gets used year after year, so it’s not a matter of “aging”.
I would say this though. There seems to be quite a few composers/writers that have passed recently, and the show must go on..
I’ve been in contact with what I call the ‘album factory library’ which is made up of one charismatic composer who project-manages a group of composers to execute multiple albums with distribution in a larger library.
If the Charismatic Composer’s initials are T.F, or R.N
These 2 (separate companies) Are BEASTS!!
I Haven’t seen this type of hustle & drive in YEARS!!
If it is them, I can say this. I see them ALL over the place, and their writing/composing pool are talented!
As well, they apparently are doing fair deals/good business, because I see the same composers/writers working for them time after time.
Also, I on a much smaller level have been “mentoring” some up-and-coming Composers/Writers; and have been attaching them to some of my projects. The benefit for them is locking in to reputable companies, and getting some “credits” that they can show to other companies.
Being honest, does it really matter how you get to the majors if you have not been taken advantage of?
Credits are credits.
What do you mean “not very lucrative or worth the time”?
For me, it means that the break-down/amount of money that is income from each track does not justify the time and energy for me.
I am in Libraries where the “Non-Recoupable” upfront monies are in the 4 digits; with 50/50 splits on everything. So, averaging 250.00 a track does not work for me personally.
Also, My “Titan” Pal. You are saying that you have 70+ writers, with no website, no distribution costs, and basically just labor costs? I would love to know how you “advertised” for these 70+ writers to even let them know you exist. Also, You mentioned “Automated Systems”. Please help me to understand that, and how that would not be a website; or something that would have maintenance fees attached to it.
I hope you don’t say You’re a “Vendor” to any of the Majors.
I was positive and you give me hate instead of curiosity about how I was able to do what I do. I have a wealth of knowledge as an industry titan and am willing to share some of it.
You know something, Young Mr.Rich
You are absolutely right. I will say that because of my many years in both the record side of this “business”, and the production music side; that it has made me a bit cynical.I am getting the “impression” that you are quite young, or at least much younger than I. So, if I might let me throw a few things out there..
There actually ARE a few “Titans” that are members of this forum, and “they drop Jewels/nuggets of insight, wisdom, and incredible candor & testimony!”
Hang out, learn the playing-field, and take it in. I am willing to bet that this same time next year you will have made strides you didn’t think in your wildest dreams.
No-one is actually “hating” on you, many of us here are quite successful. Your story just seems a bit “far-fetched”, and to be honest (IMO) not very lucrative, or worth the time.
I do wish you all the best, and I hope that everything you want out of this industry comes to you!