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Congratulations Abby! I wish for you many, many more!!
Congrats Art! Now imagine how disappointing it would have been if you sold the rights to a publisher for $500 and they sold a sync license for $2500 and did not have to share that with you because you sold the cue to them. And as you said, the same cue is marching on, remaining eternally “for rent” generating all kinds of income for you.
ownership = flexibility = surprise 4 figure sync fees = happiness = long term success
Once again, more Jewels!
It is obvious that there are really 2 major things to consider1) The flexibility to move, and maneuver. Being able to control your product, so you don’t have to depend on any one source, or stream for each cues income.
2) If you are an Exclusive that is offering very little, to no upfront; or even a buyout. Are you large enough, or have enough “Back-End Clients/Licensors to make it worth the composers while?”
Understanding that “The Guillotine has not exactly dropped yet; and there IS still plenty of opportunities to make great income”. This thread brings some really great information for brainstorming; and/or devising a Blueprint to have a more successful, and more lucrative production music career!
THIS, is the type of thread that makes the entire subscription worth while!!
This type of “essential Candor” is one of “The Biggest Values”
This shows a LOT of camaraderie, and great advice that is being shared for “any level of experience in this business/industry!!”Thanks for sharing!
Brings something to mind.. “Know your worth in ALL that you do! I would much rather lose a sale, than lose my self-respect!!”
Peace to ALL!
You got it my friend!
Well put Muisic1234!!
Hello to you, and a HEARTY WELCOME!
Damned near brought tears to my eyes! This is WONDERFUL NEWS!!
Brother SteveW, I TOO AM READY TO FIGHT FOR THE CAUSE!!!Reminds me that a few years ago another library, mentioned here often, offered a similar in perpetuity deal with Viacom (but no “consideration” fee). From what I heard that turned into the famous nothing burger.
Yes, and it was one of the deciding factors with “going Exclusive”.
I have seen “ZERO Benefit” from it, and I feel like “It was misrepresented”.I am prolific, so I will not feel must from it. Just feel like I wasted time, and great efforts.
I am fortunate that I am not new to this business/industry, because had I been a new composer; it would have been disheartening to see my creations go to a “Graveyard” and this might have been a devastating blow.
Do you want 3/4 of $100, or 1/4 of $1750?
Back in late 90’s-to about-2002 It was not uncommon to get 30,000 to 60,000 a track on the music; side with a 3/4 rate on the publishing..
Wow!! I remember when I thought a 3/4 rate in my favor was bad..
Not all of the newer composers are “Naive” or ignorant about the business. I believe the leaps in recording technology are evening the playing field.
Not meaning Naive towards business, but just settling for a “Much Lower Standard of what is appropriate in this business!” Meaning, they are settling for some rather crappy terms, and a LOT of the Lower-to-Mid Tier Libraries are mainly concerned with how many pieces of music they have in the catalog(s) so they can entice music/cue licensors with “numbers”..
Nower days, kids are using pre-baked samples on their iPad and writing “Music”. It may not sound fair but it’s now reality
To be honest, pretty much all of the “O.G’s/Triple O.G’s” know this! It is what is keeping us sustaining a decent-to-fairly good living still! “Reality, and the $10.00-25.00 cues are all that music is getting. As well, it is keeping those writers OUT of the Top Tier, and Custom Writing Gigs”..
Getting Five Figure, and Six Figure Monies playing “The Stock Market” is not going to ever happen. I keep saying.. “They don’t want music their pre-teen kids could make. They would have their kids make it!! Big Money takes BIG SKILLS!!”
“Back in the day”, rounded and experienced people like LA writer where pounding away on their Studer 24 track tape machine and Neve console.
No offense, because I am just coming from an honest place. My friend, WE are in a very strange, and unique time. We call ourselves O.G’s to show how long we’ve been in this. But here is the catch. We know the Old School & The New School; and are able to mix/match/blend/utilize in a way that the majority of the “New Breeds” can’t do..
that’s a great question and also a difficult one. for me i think 1 year to 2 years is enough to know if a library is gonna work for you. but there are other important factors you need to consider such as do you have a good relationship with the library, do they respond to your emails or calls. is your music a good fit for that library? are they curating the music they accept and not just interested in getting a huge catalogue? do they actually get placements?
Good morning to all. The unfortunate thing here is that it literally takes about 2 years to see if the Library(s) that you have “entrusted with your masterpiece’s is really a good fit for you”..
Some of the original libraries I am with were sending out reports (along with a check for a portion of the Needle Drops, and Blankets Licenses) that would let you know your where you stood; and how many licenses you were getting each quarter. This was VERY helpful to see what to expect; and as well what styles you should write more cues/tracks in!
Now, it seems that everyone is “hush hush & almost covert as to how, and if they are getting a decent number of placements/licenses for their composers”..
I usually work towards being optimistic, but I am starting to side with LAWriter. These are NOT the days of old, and the “influx of a large number of VERY hungry & naive composers/writers” is making the once transparent libraries change how they are conducting their business.
Beatslinger, have you used Tunesat reports / detections to get SESAC to pay out royalties or help you get paid?
I am with some Exclusives Libraries/Catalogs that are really on top of it, so I personally are not having to watch Tunesat, or any other monitoring..
Also, SESAC now uses Tunesat.
For someone who is what i consider a fledgling pianist (can get through a song with multiple takes, and some midi repair) hear and there, and who doesn’t have a saxophone VST worthy for soloing , in my opinion, tossed between buying the VST and just going for the real deal and learning how to play it. Nothing fancy, but with a solid foundation in theory, hoping to maybe pull off some decent sax solos maybe within a year. Thoughts? Doable? Let’s just go on the assumption I can’t afford a real sax player.
Chuck, I say GO FOR IT!! You can do ANYTHING you put your mind to!! Just think what the sense of accomplishment will do.