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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..
This literally is “War”. They are acting like they (libraries/catalogs/stock music sites) are the only game going, and if we are not with them personally & exclusively; we are missing “The Only Boat”..
Sure, there is an “influx” of new writers; talented though? “The Real Premium are Quality, and Qualified Writers/Composers!!”
I keep saying this.. No company in their right mind wants a guy that is composing $5/$10/$15 Cues. As well, the real companies aren’t signing them. We have to stand up for ourselves; and start letting them know “Who’s REALLY Buttering The Bread!!”
I send collections out to multiple publishers, and whoever has the best offer/gets back to me gets the tracks!
That’s what I have done also.I have been doing this as well. There is no harm in gracefully declining the offer for those Tracks/Music, and let them know that you are working on “What you feel is your best work yet” and that you will only submit it to them.. Wink, wink, wink.
I just saw something about the movie “Straight Outta Compton” where the music supervisor was explaining that to “clear” certain usages of songs with multiple writers; they had to be “creative” and ONLY use the portions of the songs that were able to be licensed..
Brother Kubed, You’re the best! The reason I actually posted this is not because I need it, but I was hoping that someone more knowledge like yourself would shed some light on this. I’m out of the loop when it comes to these types of “pay to play newbies” and I knew someone here would be able to “Bless it, or Hex it”.
I personally don’t want any parts of this type of “ambiguous opportunistic schemes”…
I have been getting a LOT of emails from “Music Xray” and they even offered a free trial membership..
Hmmm. Sounds to me like “you trusted your gut and it doesn’t feel right”..
Plenty of Fish in this Sea. Does it feel to you a tad “desperate?” Sounds like it..
I have been passing on those too, with no regrets..
Hello Joe Powell, I enjoyed listening immensely!! Fresh, innovative (1-2-3 Stop! is FIRE!!) I personally would not change a thing, except I would do more guitar work because it’s working!! Sounds like you’re just needing to get with “Some Very motivated Companies, that are not looking for Cookie-Cutter Music!!”
I will PM You..
Also, what an Adorable Baby!!! 🙂