Forum Replies Created
-
Posts
-
Huge, I like this a LOT better!
I completely understand the feeling of being in some “Top Tier Libraries” but not making the Top Tier Bread you thought would come with it..
Being in about 6-8 PMA Exclusive Libraries, being a PMA member/composer/publisher; and now thanks to the MLR’s “honest Candor” I am also in some “Top Tier Non-Exclusives” (Yes, I found out there is such a thing.lol) here’s a couple of things that really helped for me.
Start bridging the distance between yourself, and your PRO Rep. They really need to be on their J.O.B with you; especially because you have an extensive list of credits.
Also, here’s something else that really is working for me. Got tired of the “Cold Calls” so I recently “retained” a really good Music Attorney, and are having them do some pitching for me. What’s a couple/few grand spent towards investing in yourself? Might not work for some, but it is working well for me!!
CONGRATULATIONS ALAN!!
Honestly, I find it pretty comical that you wrote paragraph upon paragraph telling me how you would never help me! Isn’t just not writing anything simpler ?
For those of us who have been doing it for decades, we will survive because of longevity, huge catalogs, contacts and being slotted in. For those trying to make the break in….
This is “The Truth”.
I too have diversified, and even though I am well planted/well connected; and are making a “living” doing music. I am going back to school to get yet another degree..
I wonder who was the one(s) that made this seem so glamorous? All these “get rich quick schemes that have bombarded the YouTube channels, and FLOODED email addresses. If they were REALLY doing what they say they are doing. They would not have enough time to Sheer The Newbie Sheep!”
There are “one or two” that are really “in position” to make some things happen; but even they have now diversified to become Libraries/Catalogs, and “Fleece the newbies by offering outrageously BAD terms & conditions”..
Only you can answer your first question. It depends on where you live, if you have a family, mortgage, etc..
Boy, is THAT The Truth!
Here’s my 2 kuru..
For some reason “Por Moir” it has always been the case that Music/Art will fail you when you depend on it too much. In addition, for me it has been that I need to break the monotony of composing by having outside interests that help to break me away from it; and clear out my head.There is no formulation that I know of that says to get to this number; or do this step and it will have you working in music full time.
I can tell you this. The Higher Tier Libraries, and Boutiques ARE where the money is. You’re not going to get there with “run of the mill, and mediocre product”.
No matter what your style/genre of music “MAKE IT SOUND EXPENSIVE!!”
If you can write your own music why bother copying someone else
THERE IT IS!!
There are not too many greater “Highs” than to be “Your OWN Artist, that has cultivated a unique style; and find that style embraced by the masses”.
Imagine this, we take something that comes from no-where, put it into a tangible form; and then literally get paid for our thoughts & Ideas.
Sure enough, we are a product of our musical/creative influences. But then to take those elements, and “create” something that is truly & uniquely our own?!
You can’t put a price on that kind of joy!!
I’m not saying that we have to help people that are trying to find a loophole. But do you really think that by helping your colleagues you will be disadvantages?
Thank You Wall_E! To answer the question. No, I personally do not feel it will hurt me/my income to help others by steering them in some “Better Directions, and help them to get over some hurdles that could potentially set them back; or discourage them from their dreams!!”
It was the same “code of silence/code of conspiracy to be silent” that I had to deal with in the recording industry as well. “I have mine now, and YOU have to find a way to get YOURS” was the mentality then, and now.
Now, with over 4500 Cues, and a MUCH better grasp of what I am doing in this industry. I DO in-fact help others to start in this industry with a “solid footing, and a good beginning to their career”. I welcome competition, I hope it inspires me to become an even better, and more timely/current artist!!
What are the most reputable ones (if there is such a thing!)?
I would honestly say “Put your tracks/streaming playlist up for a critique/evaluation by the MLR Community. I am sure some of the experienced forum members will give you some honest advice” (probably through a personal message)
Keep in mind. Reputable is “subjective”. What is working well for some writers/composers; is working horribly for others..
Read the reviews here on the catalogs. It has helped me out tremendously!!
Congratulations!!
Hey there Boinkeee. One of “The BIGGEST Lessons that I am learning is to let things happen in their OWN timing; and don’t be so hasty as to wind up with “Sharky Companies, and Shady so-called professionals!!”‘
To get to the upper echelons of this business takes time, and there simply is no way to get around it..
Do your research, perfect your craft; and SUBMIT SUBMIT SUBMIT!!
Hello EV! I have a question for you. “Are these “Briefs” chewing up a lot of your Composition/Production Time?”‘ The reason that I am asking is because “it really should not, unless you are seeing some really great results!!”
I cannot state this enough.. Please research, and read all of the reviews here on MLR, and pitch/submit to companies that have a good amount of history, productivity, and good standing with their composers.
I am AMAZED to see so MANY new libraries that are popping up out of nowhere; and demanding exclusivity of tracks, but have no track record to warrant this.
Also, when I first started in the business (over 10 years ago) “some” companies would send out a quarterly report of what was being “licensed” and how many times. Not only did it show “activity of your tracks”; but for me it also showed what I needed to write more of..
Excellent Work BenG!! “Going For Gold, Tale of Mischief, and Secret Agent Zero are STRONG!!”
I agree with using Dynamic Miss. I would suggest a “pair of Shure Beta 58’s”. It seems to really work well for “hard to capture Git’s” Also, if you’re needing something with a little less bottom/roundness I suggest Beta 57’s.
Unfortunately, it’s getting even worse than that. I actually saw a contract recently where the “Library” was asking for 50% of the writers share, and no publishing at all..
I guess the whole thing is “how far are writers willing to go to get a placement?” I personally, will not take any of these deals, and its a “principle over money issue for me”.
To anyone that is just getting into the business, I would say.. If you think just getting in the door with lousy contracts at first; and hoping to change things once you are in. YOU are not only mistaken; YOU are creating a bigger hole for yourself than you know!
To those that have contracts already in place, and have been with libraries for years; this will not affect you. But to the new composers that are looking to make a living in “Production Music”; by settling for these terms, and de-valuing “your product”. The large majority of you will not make even a sub-standard living..