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Thanks LAwriter, I really enjoy your input. It is definitely good to have someone “keeping their eyes open, and warning all of us about impending dangerous conditions in the roads ahead!”
To answer your questions. I will try to do it to the best of my ability, and hopefully completely. As I have mentioned, I speak with my PRO Rep a LOT, and we are sharing the same concerns on how we can defeat “The Glutinous Streaming ID”.
How long (if ever) do you think it will take until streaming becomes the dominant form of content delivery?
Very good question! I still think we are at least 5 to 7 years; maybe even 10 years away from this. As well, we still have a rather large portion of the U.S under the poverty line; that can’t afford Cable, or Streaming Services. I am going to mention streaming revenue; while hopefully answering the next question.
How do you view streaming royalties in 2017 as compared to Network/Cable royalties in 2017.
To be honest, it pxxxxs me off every time I see a Royalty Statement. It feels like an absolute waste of space!!
I personally will not be writing for ANY streaming series, or media. In it’s present working conditions, it just makes no sense to me to “feed a Beast!”Do you think streaming royalties will “change” for the positive and if yes, please give us your reasoning for this
I did address this in another thread. While WE Composers/Writers are losing a LOT of Money; so are OUR PRO’s! Just like with Cable TV, I believe the industry thought it would be a “Niche” market; and would not grow to be the Giant that it already is now. Understanding that they are NOT going to let this money keep getting away. I believe that legislation, and new terms will happen a LOT faster! I think “WE Composers & Writers need to be VERY Vocal, and Proactive about the wages & compensatory conditions we are being forced to work under. I am optimistic that a lot of changes will be happening soon!!
**Please excuse any errors, or typos. I too am being “filtered” and notice that if I edit for Grammatical errors. I don’t see the post for several hours…**
Perhaps you don’t have the time in to have seen the differences? Unless we’re living in a bubble anawares, we’re all affected, whether we feel it or not.
I have been in the Library aspect of the music industry since 2004, but I did have a hiatus for a few years; while still concentrating on “The Record side of the business”.
I have been in the Recording Industry since 1982..
LAwriter, I do understand that there have been major changes in the industry, and the Cows/Hogs are not nearly as fat. But, let us be honest with a couple of things..
1) About 90% of the new producers will not make it to The Top Tier Libraries within the first 5-7 years of being in the Production Library/Catalog side.
2) About 80% will not have the skillset to possibly ever be signed to a Top Tier Library (Not being mean, and I apologize. Just telling the truth)
3) The Top Tier Libraries have a STRONG Clientele, and numerous Faithful Subscribers that are depending on “A Certain Caliber of Production Music”.
Yes, those that have been in the industry will complain because is not the “Gravy Train that it once was”. But I highly doubt anyone will be jumping from a tall building any time soon.
I haven’t really seemed to be affected by the “So-called Influx of New Composers”. My placements, and royalty payments are steadily increasing. Once it becomes a factor, I will consider all new avenues, and/or rethink my strategies to continue earning. But for now I’m steady on the course..
Sorry Art. I can edit it out if need be.
Another thing id like to ask pertaining to the topic, I’ve reached out to some of the PMA libraries and gotten a few replies stating they dont need new material now and to revisit them beginning of next year. would that be subtext as a “brush off?” is it a seasonal thing for some?
That is actually truth for a lot of the Libraries, and they probably did mean exactly that. If a Library gave you the “Brush Off” you simply won’t hear from them..
nice guys over there at audiosparx. they were the first library that took in my music which gave me a great level of confidence. might be worth taking up their offer Boinkee.
I will second that Lee, and the team over there seem like nice people. I am new to AudioSparx (since July) but they seem to be very prompt in responding to whatever the concern is. I decided to go for “The Exclusive Artist” offer to see what benefits it holds. I am optimistic for great things to take place, and will report my findings.
LAWriter, you are also making me feel like I should stress the importance of “Near-Field Monitors”. A lot of people in “Modern Music” do not have access to some of the better quality outboard gear like Manley, Tube Tech, Neve, LA2A, Urei, GML, etc. As well, a LOT are using Headphones to be their reference for mixing. I cannot stress how important a pair of Near Fields, like “Good Ol’ Auratones” are for achieving good balanced mixes; that can be played ANYWHERE!!
— It must be stated — You will never know which tracks are going to “make it” until after they have. My dumbest tracks are some of my best earners. Figure that one out?
Ain’t THAT The Damned TRUTH!! I have a Cue, that was on it’s way to The Recycling Bin; but I needed to fill 2 slots to complete a CD project. I said, “BOY, this is some Corny Sh^T”. Mixed it anyway, and threw it on.
When The CD was uploaded onto the site. I saw that the “Filler Track was put in the number one slot”. I thought they were trying to mess me up, or were smoking something..
Now, I see the numbers, and Cackle My Ass Off!! “That throw away track” gets about 100 Placements a quarter..
Also, I did not say I plan to stay at 200 tracks. The catalog is “Briskly Growing”lolol
I have been in the Production Music side as part of my overall music income since 2004. Due to NOT doing my research, stupidly having faith, and sleeping with crooks. I had to give away several hundred songs..Thanks Mark P, VERY well said!!
I too am a Composer for UPPM (I was BUG/BMG originally) I am still VERY optimistic about the Production Music Industry, and I feel that it does not take a 1000 tracks to make a good living.I have had to “give away” almost a decade of compositions through being in a rush; and getting stuck in some HORRIBLE deals. I Restructured, re-grouped, and now are making a really good income; with a briskly growing catalog of about 200 songs. Once again, the key to this is “Doing a TON of research to see who will be the right fit for you”.
MLR, is a WEALTH of information. But, as with “Any Jewels” you can’t expect them to be out on the side of the road just waiting for you to pick them up. You have to dig for them. They are there, just takes some work!!
I keep hearing a lot about “Protecting your contacts/.connections, and playing closely to the vest”
Here is something that I give freely, because I really feel it still mostly has to do with “How Hard You Hustle, and How Good Your Material Is!!”
(Couple of things)
1) How many people are really utilizing their PRO’s? Do you have a relationship with you rep? Do you even know your rep?
2) How many people are taking advantage of networking through NARAS/National Academy of Recording Arts and Sciences? Going to the mixers, fundraisers, and socials events like MusiCares? (This is how I met A Chair-holder, and The President of my Local chapter)
3) There is a WHOLE World outside of The United States. How many are looking into foreign Libraries??
4) Stop trying to going from 0-60 in 1.0 seconds. This is a business of creating relationships, and putting in the hard work to make connections that really fit YOUR personal goals. The REALEST thing IS “The VET’s” are saying it best. There is NO short-cut. You have to earn your stripes working through the smaller Libraries; to get your track record up. While you are there, really work on getting your A Game up and running!What about your content:
* How do your mixes stand up against your competitors?
* Do you sound complete, even when you are going for minimal parts in your cue?
* How do YOU differ yourself from the HUGE pack of people that are doing your styles of Tracks?
* Are you writing stuff that you feel will sell, or do you feel passionate about your work?
* Are you sitting in a room waiting to be discovered; or are you out there making your face, and presence known to people??The list goes on and on…
Good morning to All. In response to Boinkee, the way that I was able to get into “a couple of the so-called A List Libraries was I didn’t write specifically to get into them”. My process was compose, and just keep working on my catalog(s) This is a VERY tricky business, and until you know for sure that it will be sustainable; always have your steady hustle/income. Everything always works better when you are NOT depending on it, or that your life will go into shambles if it doesn’t come through!!
(what I do)
Compose stuff that I really loved; or that I really wanted to hear from a listeners stand-point. When “those compositions that just feel SOOO RIGHT” came; I would simply tuck them into a special folder and keep moving. If you are writing for specifics, in my opinion it really slows me down; and stifles my creative flow. Just write/compose to write. The HOT ones will come!When I had enough material, in what I felt was my “Hot Folder” (I’ve dubbed mine The AAA) I would submit those as my Top Tier Tracks.
MusicMatters, you are absolutely right. PMA does NOT necessarily mean that you are now in some type of elite group. In fact, I am getting a HUGE amount from The MLR threads! The wonderful Candor that takes place here, and “Reading the reviews of the Libraries has been of GREAT Value!!”
What ever you do. If it is something that you love. KEEP GOING!!
Good morning to All. I compose for a few PMA associated Libraries, and are a PMA member. I recently got into the RF side, or as I have coined it “Pre-Paid Like a Metro”. I am finding that a combination of a few “better boutique exclusives”, with some RF, and non exclusives has been been working well for me.
The BIG thing is doing a TON of research on who will be the best fit for you; and where “your contributions won’t go into a HUGE pile of other similar musics”.
Please find me more Acronyms. I LOVE seeing more money!!
Hello to All. This will be the first year that my Publishing company will see statements from all three. I am looking to see who actually is paying the best for me, and start allocating my eggs accordingly..
As well, I came onto the forum today to see what everyone (BMI) is thinking about their latest statement. Mike M, I am sharing your view that this is one of the best statements ever.
I have a feeling that there still needs to be a “Royalty Free site that truly caters to the more seasoned composer/writers”. I am not saying this to be mean. But, a lot of these RF sites, including so-called “premium”; are now just throwing anything in just to have larger numbers. It is really making this portion of the industry go to…
Hello to all. I did read a lot of the comments, but didn’t digest them all. But, here is something that I think is on the horizon..
I have the strangest feeling that WE Composers/Writers are about to see some MAJOR head-way in our PRO’s legal battles with the now Streaming Giants! I think that when Amazon, Hulu, Netflix, and others were starting; most thought they were a “niche market and would not become a major competitor”. NOW, everyone is seeing the effects of not having the proper agreements in place. We as composers are seeing that we are being robbed. The PRO’s are being ROBBED!
If I am not mistaken didn’t something similar happen with the “unexpected growth” of Cable TV? WE need to force the hands of OUR PRO’s; and get these legal procedures moving faster!!
Hello there DannyC. There are actually several “CD’s” that I have put together. I go for “Themes” that either create a lane, or put a unique spin on a specific genre of music. I have noticed that certain styles of music are not being represented in popular music form. I simply put a new spin on it while keeping the original essence.
Let your mind wander freely, and remember this.. “Once You know music, and how it works; your ideas are LIMITLESS. What ever your mind can dream up YOU can achieve with a little ingenuity; and a DYNAMITE MIX!!”