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Sent you a PM.
Stein, YOU should be ashamed of yourself!
Were you just playing with us?! The Last Helicopter Falls “You already know that’s where you need to be!!”
Do this, “Go through EACH and EVERY Library Review here, and see what the community has to say.” They have been “EXTREMELY” Helpful in my personal advancement!
There are NO shortcuts. “When you take the short road your trip is actually MUCH longer!!”
Think it´s time I take a step back, too much time going into this and money, will concentrate on other projects ? and leave the library business.
thank you for pulling me back to reality my friend
LAWriter, I feel you gave a lot of truth!
Stein, I feel that maybe a step back, to re-think, and “calmly re-group”; will bring you to where you need to be!
One of the greatest joys about being in the production music side of the business is “I can go anywhere my mind takes me! My creativity is not stifled by having to fit into a category, or a really tiny box”.Sounds to me Stein, like you want this a little too bad. Bad enough to compromise your product, and your capabilities.
Really put together a “Strong set of compositions that really reflect your capabilities”. Put them on a Site (Like your own website, Soundcloud, reverberation, etc) THEN, do your research here, and “check each and every review, and entry of Feedback that is given to the Libraries here on MLR”
Trust me, it’s not the amount of tracks. I did over 900 placements in 2016, and over 700 in 2017 using about “120 compositions total”..
Good morning Stein. Being that you are a classically trained musician; I would say “Do the music that is really in your heart!! Don’t worry about what you think will work, or what they are looking for. Do the music that is really inside of YOU!!”
Good music is NEVER outdated!
Just felt like you were playing WAY too safe..
Thanks for sharing Stein. I am not sure what to say.. Technically they are fine. I would say though the mixes lack that “Bottom End, and warmth “thing” that shakes a theater””..
No offense, but I am looking forward to someone “Really breaking this movie/film trailer music thing wide open with a brand new sound!” Currently it seems to be a bit “too uniform/cookie-cutter” for my tastes..
I would say this to everyone.. Get out to the Conferences, Seminars, and Conventions to meet the people. The current impersonal way of sending material/links by email, really only works if you are doing “Something Earth-shatteringly different”.. Meet people, build a rapport, and see what your peers are up to!
I’m still not seeing the difference between the two. Both are non-exclusive. Both will net you a back end royalty if registered with your PRO. Both can be used in perpetuity (unless the NE libraries specifically forbid that). Both split sync licenses with the composer.
What am I missing here? I’m not trying to be a PITA. I honestly want to understand the differences, if in fact there are some. Are the terms NE and RF used interchangeably depending on who’s talking?
I totally get you LAwriter. If I might, I think here might be the difference..
A RF Library doesn’t really have a initial/primary goal of getting any kind of “back-end results” like a Non-Exclusive does (as per the usual contract, composer gets the writers, and the Non-Ex gets the publishing)
The RF is primarily looking for “one upfront payment”, and if anything else comes with it they are open to some of that as well..
Sounds like this should have been a Private Message. Looks like advertisement..
I would be upfront with the guy, and say “I really want to work with you, and build our business tie”.. What are you normally paying for mix work?
Keep in mind, you get to see what he’s thinking, and you get yourself in the door. You can always raise your rates once you have established your “rapport”…
Do you have a contract, or is/was this “a new relationship that is depending on the acceptance of tracks?”
Hello to all, and Happy New Year!
Just a little piece of “advice”..
I have several friends that are in both music/sound-design for games; and production music. Keeping in mind that you need to make things “Interesting, and catchy for both” I would say try implementing the same formula that you are currently using for writing “game cues”and just put them into a 2-3 minute format.
In my opinion the fundamentals are basically the same; you’re just getting to the point/hook quicker..
Happy New year to ALL.
I guess this is all a matter of taste. I do a lot of mixes on Headphones that are under 50.00..
Hello to all. I don’t have much experience on this, because my transition to another PRO was really easy; and they DID actually “Port me in”. BUT, I have had a few colleagues talk about this, and from what they told me it really depends on the size of your catalog.
Also, I have a few friends that did make the transition from ASCAP to BMI, and they said that ASCAP still takes care of the older works; and that BMI deals with all the new compositions/tracks..
I know there are a few here that will be able to give insight on this. Since I was invited to join my current PRO; my story might be different..