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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.
Beatslinger, please do keep us posted on the results of your big placements and the SESAC payouts. How long have you been with SESAC?
I have been with SESAC since 2002
The forum is correct though, it DOES seem like SESAC takes a lot longer to payout on cues.
I am still awaiting a couple/few royalty statements to make my decision..
No, they are a vocal version and instrumental version of the same song.
LAWriter to The Res”cue”!!
Bad JUJU!!
Just do the vocals over the existing track, and then write a new music bed to it..
It creates a derivative work based on the underlying original.
MichaelL!!
Hello to all. I look at it this way. “Any monies that come out of your being creative are a blessing!” Keep going, and keep growing!! Everything is not based on a price tag. Being able to make a denomination from the thoughts that you have in your head; and turning them into something for others to enjoy is PRICELESS!!!
There are literally 14 year old kids writing EDM tracks on ipads that are going to find there way in to pretty good libraries.
The business has changed, technology has changed, and competition has become fierce.
I CELEBRATE ANYONE that is able to be creative! As well, if this means more “competition” than “Let US raise the bar back to something that sounds like MUSIC AGAIN!!”
This is the same argument that was happening with Jingle writers, and people that were working on Ad/Branding/Commercial Campaigns. The Influx of a large amount of people; that were “poaching on their Creamy, dripping with butter Gigs”. They were fiercely protecting it like it was really “theirs”..
I’m a kid that started on a “Cassette 4track” and dreamed of the days that I could. be in a 24/2 Inch room; on a HUMOUNGOUS Console. These days, it’s FAR from necessary. If they are making music on a Children’s Leap Frog learning computer, and it sounds market ready? I say BRING IT, and congratulations on making it happen for yourself!!
To answer your question John. A lot of people will go for “These Crooked/Shiesty/Underhanded Deals” that take place, in this business we call music. I was xxxxx MULTIPLE TIMES!! But, you are just happy to be doing something that you love. It’s no different from the Record Side of the business. You get in any way you can, and hopefully get an opportunity to turn the bad deal(s) around, and make it work for you at some point in your career..
As for me, I have a “Bar” that I have set as to what I will do; and what I will not do. If someone is ok with making “Literally Pennies” that’s on them. I don’t need to have all the gigs. Quality for me, is NOT just about how my product sounds. It is how I do My Business!!
Just so I can be upfront, and honest. My viewpoint about My PRO losing out on money just like I am; is because I am with SESAC..