[BEATSLINGER]

Hi there Jesse. YES, it is VERY specific. but, might I suggest checking in with the City of Las Vegas’ Metro Chamber of Commerce, and Lasvegas.gov . I would be checking into who will be filming movies there, and who is slated to be doing something upcoming (They normally would have petitions, and applications in for permits & documents to film)

As well, I would be checking the Los Angeles Trade Publications to see who is looking for that type of song.

I like it! It’s Nice and Gritty. Has some Back-Bone in it!!

also, for metadata.. It reminds me of Bob Segar, Merle, Travis, Toby Keith, and Trace Adkins
‘

[BEATSLINGER]

Thanks James, & Augustine. “I actually Get It!!” (No really, I appreciate You!)

I would not try to go with anything modern, “Your message though is timely”.

Think back to songs like “I’d like to teach The World to Sing in Perfect Harmony”.

It needs a “Very Hopeful, and Optimistic sounding Female to do the majority of the vocals”.

I also would use a lot of “Natural Sounds” (Birds, Rippling Water, Wind chimes, etc)

I would start with the Chorus first, and then to a “Softer and more universal approach to the lyrics in the first verse” (Your message needs to touch all ages, without being too abrasive, or slightly too adult)

(Just a Thought..)
Together, Together
Together We Stand As One, Hand In Hand
Together We’re Strong, and We Must Hold On
Together We’ll Find A Way To Break Thru
Together Starts With Me & You

I wish You James & Augustine many blessing from The Most High!

[BEATSLINGER]

Happy New Year to ALL!

If I asked for another Library to represent my work I would just be being greedy. I need to be responsible, and give others an opportunity..

Dance Card is Full.

Honorable mention to Extreme Production Music. It more than likely would be “One of the only Production Libraries I would consider”.

*** Footnote to New MLR’s *** I understand that “these times seem VERY desperate, and there seems to be a frenzied rush to get into Production Libraries before this whole thing closes around you”. Just know the truth. “As long as there is a product, campaign, video/stream, or media that needs to be pushed to the masses. Music will always be needed!”

As well, asking Veteran Composers/Writers to give you information on successful libraries; is like asking a Gold-Miner where He/She got their biggest nuggets.

It’s funny to me. Here We are inside of “The Treasure Chest (MLR) and people are asking where is The Gold?!” Trust me, it takes about 2 years to get the research, and watch closely as the Production Music Veterans chime in & and give “their candor”. Just observe, and grow!

[BEATSLINGER]

Hello to all.
Just a quick look from what I am noticing.

There are still quite a few Non-Exclusives. The ones that are switching to Exclusive are mainly because of 2 reasons

1) To get a Major Player “like” Universal, EMI, Warner to distribute them
2) Sell the library

From what I am seeing, “for most of the non-exclusives” it has very little to do with having content that can only be found in their libraries/catalogs; and “more to do with leverage and the owners/partners personal gain”..

[BEATSLINGER]

I wish much success to all!

To all that have found success using “any” of the various companies, and paid services that are out here. Congratulations!

I personally had to go about this a very hard way, and took a lot of bumps, and lessons along the way.

I did find out some things that I will give here freely. That is:

Work HARD at developing a style/styles that will get you into the better libraries. Once you have started having some success with getting placements, “Parlay it into getting into even better libraries”. This business is primarily about building a track record, being able to show success through numbers of placements; and in my instance what better libraries that are cataloging your compositions & songs.

Be FEARLESS (and very respectful in your fearlessness!!) in approaching libraries. Networking is essential, and using social media sites has been crucial in my success!!

If you believe in yourself, your skill-set, and your talent. Do not give up!!

[BEATSLINGER]

Thanks for understanding!
Did you go thru the websites and listen to multiple things posted? It might not be an example of the current featured song(s) but this is the trends.

Yes, the current “trend” is Trap/EDM styled, beats, risers, and breaks. But It is a reference to what is currently the trend.

I agree Kodak & Wayne are “Authentic Trap”. As well, Waka Flaka, Gucci Mane, Future, etc..

[BEATSLINGER]

Good morning Edouardo, I hope you take no offense to this because I am simply trying to give you a bit of insight.

I read your post completely, and I went and listened to your work.

In order to compete in the “Beat World”, and sell tracks to Artist.Rappers/Writers you really have to know the genre, and the current trends. I noticed that your tagging said “Trap”. I would really suggest doing some “Home-work”. Really get to know the styles of music you want to sell; and study what is doing well and hot in that community/sound.
Here are just a few pointers in hopefully the right direction

https://www.youtube.com/channel/UC2Qw1dzXDBAZPwS7zm37g8g

https://www.youtube.com/channel/UCa10nxShhzNrCE1o2ZOPztg

I wish you lots of success!!

[BEATSLINGER]

Hi there Art. I went to the “Piles” for editing. Please release me? Thank You Sir!

[BEATSLINGER]

Checking my PRO statements,RF sales and sync fees of the past 5 years,made me realize that these $100-250 buyout deals come always from desperate,opportunistic publishers.
That’s the reality but,like Art said,it really comes down to how much does someone needs the money

I had a post that somehow was lost, and here is a bit of it..

1) There are really no shortcuts. What you think is getting into the industry, and making it right once you’re “inside” in actuality is “The LONGEST Route!!” It has taken me YEARS to un-do a lot of the bad deals, and bad situations I got myself into. As well, they can be harmful to your career with respect to getting into reputable & and top-tier libraries. You literally carry these mistakes around like really UGLY Luggage!!

2) If you really believe in yourself, and the quality of your work. “You have to be FEARLESS in your approach to finding homes for your work/music”. Closed Mouth does NOT get fed!! Get in touch with everyone!! Presidents, Vice Presidents, Heads of A&R, Heads of Sync/Licensing. I mean EVERYONE. Be professional, show respect, and take rejection & Criticism Graciously!! Develop a thick skin, and keep pushing.

3) Be prepared. Nothing worse than getting a Golden Opportunity, and not having your stuff together. The top-tier does not understand excuses; and has NO patience for explanations & whiners.

[BEATSLINGER]

Hi there Glenn,
I agree with needing a couple of change-ups in the track.
Also, I would let the effects be bigger. Don’t be afraid to let it get more “spatial and etherial” (As well, Bigger Booms!)

The name that came to mind for me is.. “Too Close For Comfort”.

Be well, and stay creative!!

[BEATSLINGER]

It’s a terrible deal but i understand it might look appealing to a new composer that hasn’t any experience with library music and needs the money.

I recently was approached by a company that asked me to do 250 Tracks a year for 25,000.00
I guess to someone new in the business this would seem like a good amount; or a good opportunity.

Let’s just say this, In “some” of the top tier libraries 25,000.00 “can” be made in sync fees alone for 1-to-2 songs in a year..

[BEATSLINGER]

Imagine you’re with several non-excl libraries. They have your tracks and one of those tracks airs on TV BUT you don’t get paid. Missing cue sheet, etc. Which library do you contact to hunt down a placement that possibly wasn’t their doing? And when you call your PRO they’re going to ask you “which library licensed it?”
So with that scenario, there is potential for lost income.

Just have your PRO do a “Queue/Data Base Search” That includes the name of the track(s) and your name. Depending on which PRO you have they “almost” always have the cue sheets, and there are many more writers & composers that would be on that sheet “hopefully with you”..

[BEATSLINGER]

Hi there, I really like this a lot!!

Cyberg was spot on, and those were the first things I was thinking myself
1) Lusher, and longer throws on your Reverb & Plates
2) Widen Your Stereo Field

ALSO. I would change the name of the composition. Don’t limit yourself. I would call it “A Fading Fragrance”.

[BEATSLINGER]

Hi there Walden, I think the biggest question is:
Is the Library/Catalog big enough, or famous enough to propel your career by signing music to them?

Sometimes, we have to let go of a few things to accomplish a “Bigger Picture”. Songs/Music come all the time, so it’s not necessarily a loss if “It is a strategic move towards a much more lucrative music career”.

See what they are doing, marketshare, who writes/composes for them, and see if it is a move in the right direction for your career.

[BEATSLINGER]

I have found that if I make a version of the original session (Save as.. whatever the name.. Cut-down version) Grab The End/Tail, Grab the main portion, find my desired length, and slap them together.

If the tail is too long, I shorten the effects on anything that is running long..

it’s always on beat, and easy to find where the edits make the most sense to have a “as natural as possible sounding version”

[Author]

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