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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!!
WOW!! They’re “Trying” anything & EVERYTHING right now, aren’t they?!
I’d PASS, probably be offended..
I have preferred vendor agreements with most of them and the language is very clear. If you are on these platforms,
I am a “Vendor” for a few of The Majors I am with. This “preferred Vendor” I will be checking into. “I’m not giving up any more of my Prize Winning Recipes, and My Good Baking tips with MY Execs, if they haven’t been giving me “preferred” status!!
For unscripted programming or TV or radio stations, they are all under “blanket” agreements meaning production can only use the music that is under a blanket
Maybe that might be with some, or maybe I am reading this the wrong way. But that has not been My case, especially lately with my placements. I’ve been getting a good amount of “Needle Drop, and Syncs”.
I was wondering if web traffic can be a good indicator of a library’s health and success and if so, has anybody tried it and with which tools? I checked all the libraries in the Non Exclusive section of MLR and it looks like a great part of them hardly get any daily visitors…
Here’s some “Real Honesty”. Here are a few of the biggest reasons that the “Top-Tier” are sought after.
1) They have great and/or large sales teams (world-wide) that are avidly pitching. They as well get the majority of the best salespeople.
2) They have relationships in place, and established that a LOT of the new comers/new libraries don’t have
3) They get a LOT of the really large projects, and are not relying on a large number of people coming to their websites
4) many of the “Top-Tier” are subsidiaries of large companies for a wide variety of media.I mean, I get it. There “may be” a bit of romance, or ‘fantastic expectations/grandeur” when it comes to so-called “Top Tier Libraries”
There is ZERO romance left for me. I said “I Do”, and then after that ALL I remember was somebody handing me an Apron; and telling me GET IN THE KITCHEN AND COOK B**CH!!
As BB King would say “The Thrill is Gone. The Thrill is Gone Away”..
Keeping something in mind here..
This is REALLY not about “Top-Tier”, this is really about “how hard your Libraries/Companies/Agents/Representation are working on “Your Behalf'”.
The TRUEST statement that has been made on this forum is. “Your Mileage May Vary”.
I have some companies that I work with that are “relatively small and WAY under the radar” that are bringing in really high sync fees.
I also have a couple of Majors that “for Me” have been a “Graveyard for “My Tracks”. But, if You/I keep moving, You’re bound to get some “Real Things Cookin’!!”
So, who are these majors?
THIS is gonna sound CRAZY. But, you asked.
I’m “almost sure” that the only Major I’m not with is Warner Bros. Had an opportunity last year, but I’m WAY over-extended..https://pmamusic.com/all-prefixes/ . and just because a library is not a member of the PMA doesn’t mean they are not kicking ass at getting placements.
This is truth. I am with several majors, and The Boutiques I am with are doing as well; if not doing better..
Also, to answer a question. just about all of the “Top-Tier Libraries” now have a submissions email right on their webpage. I know for a fact it works.
Hi there Keith, I hope you are well. Happy 2020 to You!
Right now, it’s BEYOND competitive. It’s Brutal!!
To be honest, I couldn’t hear it standing out right now, especially with The amount of Sound Design, and Reverb/Wash that is on mixes right now.
Question: On the Second song, have you thought about making it a “Vocal Tune”? I could hear like really “Retro-ing” it out; and putting like a Flock of Seagulls, ABC, Depeche type Vocal arrangement.
Just a thought..