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In most cases, I do albums of production music with a specific style that fits a specific catalogue but, for universal and BMG for example, you only find a super generic email address for submissions and as hard as you search on the web there are no label emails.
When you go to the websites there will be a submission email. It really works, and trust me if they have something currently and/or upcoming slated that it will fit. Or if it is something they they need. They will get back to you.
Most are using “Disco” now. Make sure to leave a personalized message; and really keep it “short, to the point, humble, and positive”.
Good luck to you!!
This thread is titled ‘Full time composers – Share your stories’ and yet it seems to have been hijacked once again by people complaining about the current state of the industry and how it’s all going downhill and whose fault it is.. There are so many places on these forums where one can read these complaints – it’s a shame some seem to think it needs to happen here as well
If this was in reference to what I posted. Yes, I currently do music full time. As well, I mentioned I now make more money than ever while I have decreased my output by about 80%..
Hello to all.
I have been doing production music since 2004, seen some great libraries come and go, and now seeing what has become of this once thriving revenue stream; it has made me completely re-think how I do business. One BIG thing I have found out is that this really is about your relationships, and not about how many “cues” you have in libraries. After making my rounds to pretty-much all of the so-call top tier libraries. I took this “pandemic opportunity” to refocus, re-brand, and “lose my production music, and production music library identity”. I have literally spent the last year or so only focusing on specific types of projects, library music that has a non-recoupable budget attached, and dissecting my music and (hopefully) finding what it is really good for.Seems like I landed on a few things. For many years my output was about 125 to 150 cues/tracks a year. I am now making several times the money while only having an output of about 30 to 50 pieces a year currently..
Grateful that even though I am self-taught. I am an actual musician, and have several “Change-ups”. In addition, I am extremely grateful that I learned to navigate these treacherous waters; and not getting caught in the current “production music bottle-neck that is taking place somewhere around the B.S Libraries/Scams, Lower-tier, and Mid-Tier”..
I would try to get to the bottom of this rather than get a shock some months down the road.
Being honest, and now that I know there really is still some money in this industry. 4 figure checks are pretty regular occurrence. I wouldn’t worry too much about it..
I would also advise you to just cash large checks and not ask any questions at all.
As the kids say.. “That Part!”
Consider it a Gift from The Sync Fairy.
Also, I wouldn’t poke around too much. If it is a mistake, might as well not help them to figure it out..
I think the trick will be to offer a niche that the library needs. One has to figure it out and then produce songs in that area.
Happy New Year everyone.
Yes, this is an accurate statement. Seems like the majority of composers are going down the same few lanes, and those lanes have become WAY over-saturated. Like EDM, Trap, Cinematic, and Future Bass are about as needed right now as throwing toothpicks into a Volcano..There’s a LOT of work out here. Thing is, are you bringing something that is needed, or something that there is already a HUMONGOUS Pile of..
Hi there Paul. Sounds Great!
“The Ascension” really stood out for me, and sounds like THAT’S Your Wheelhouse!The only things I really could say is the mastering could use a bit of “Brightening”, and to be honest I would steer more towards “The Ascension, and less towards Field of Honor”.
Just me though..
Hope it helped.
Sorry for The “Double-Dip”
Also, ALL of these “How-To’s” claiming that “You Can Make A TON of Money in Music For TV & Films” did NOTHING but “Chum The Waters”, and bring a LOT of attention to the “REAL Sharks & Predators” that were looking for a quick and easy filling of their bellies..
We have the full and complete right in this country to enter into a bad agreement. I would run from any agreement that allows the publisher to change the terms at will.
I’m one of those lawyers LAwriter talked about. I’m not giving legal advice, but really. Has the supply and demand curve gotten so bad that those kinds of agreements are entering this space?Actually NO, the supply and demand really has nothing to do with this I found out. This, is simply the case of “Old Bad Business Tactics, from an influx of people that could really care less about this industry; and anything that has to do with Art/Creativity”.
Just basically seeing what they can get away with, how much they can Rape & Pillage; then quickly be gone as fast as they came..
See, THIS is The Camaraderie I am used to on MLR!!
Mark, You are not ONLY Immensely Talented. You are a Giant at being a “Mentor!!”
Hi there Art, I will get in touch with a few people, and send you an email.
What snippets of advice would you give them?
have at least 2 “Fall back” skills, or an actual work/trade/profession that you can do while you are doing music business.
it will keep you far less desperate, and less likely to fall into situations where You are ready to work/do deals that are not in the best interest of doing music as a career.
Hopefully that made sense, because I have noticed that “If I would have prepared a LOT better for this industry”, and not been so “Needy” to have something going. I would not have had to go thru all these extra steps to “Clean up ALL of the BAD Deals/Contracts that I hastily signed!!”
Hi there Art. I recently hired a “Royalty Recovery” person/company to help me.
Not sure if this might fall under the same thing, but I thought I would throw that out there..
I could be wrong though…..
Just Your Spider Senses kicking in.
I would. MUCH rather be wrong about not signing!!