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The more competiton there is, the better your game has to be.
People REALLY need to make this their Mantra!!!
Overall, like what Michael said, it seems the key to survival now is quality over quantity, and working with libraries that get your music used in more lucrative ways.
BINGO!!! Yes, there are a lot more people coming to this side of the business (as pretty much all of us did as well) The key thing is; there might be more people, but the level of Quality people is still on the low side. High end corporate/branding, TV, Film, and mixed media are NOT looking for material that they (as amateurs) could make themselves. “You have to come with the quality cues that stand out; and separate you from the pack!!”
Hello to all! I would say this. Never give up something that makes you happy! As well, it really doesn’t pay off until you don’t look for just the payout! If it is a extra income, great. if it is a hobby, great. But, if you need it to be more than that “figure out what steps you are missing, and make the necessary adjustments!” I now get about 400-600 cues a year; simply by understanding what I was not doing. One big key to this whole thing is.. “Just like any other business; it takes money to make money!!”
Now, I preface this by saying “When I was getting very low amounts of placements my first couple of years. It was because I was composing what I thought everyone wanted to hear, and what I felt would sell the fastest”. That way did NOT work. I got frustrated, and literally quit.
A Music Consultant heard my stuff that “I personally LOVED, was sitting on, and just knew it wouldn’t go over because no-one would get it”
Those tracks ended up becoming the music that took me from a regular job; to becoming a full time composer.When you write for everyone else; you forgot the most important person YOU need to write for!!
Thank you Michael for the information, and I will check into it before sending.
“I know everyone here kinda plays their cards very close to their chest”
To answer this. I do not. I love fair competition! But I have a few things I should say..
1) I was invited by “Trevor Gale” to join SESAC about 15 years ago.
2) The exclusives I am with do not take general/unsolicited submissions, and are by invitation.
3) Last year alone I got over 600 placements; only using about 50 tracks..I hope this answers your question; because we are creative spirits and need to be in celebration of each other.
Here goes.. There are several music libraries that are posting on MLR for new composers, and new tracks. Send it to them..
Hopefully this is not out of turn, and dropping names. But I have been seeing a LOT of great info here about “John Manchester/Manchester Music” and are currently writing compositions specifically to submit to him..
I wish you the best success, and I hope you do well!!
This is generally a very polite group. Lack of a direct response is a response in and of itself.
I actually think THIS is The Quote of The Day!
Good morning to All! I would simply say this. Don’t be in a rush to get to a certain number of tracks. Take your time and go for quality! You can have 1000 Cues/Tracks, but if they are not as hot or hotter than your musical Piers/Competitors. You will just have a lot of tracks..
Hello there my friend. I think that Art did say this correctly. You should not have to pay anything to get to “Reputable Music Libraries”. There are some “services” that will help you from a “consultancy stand-point” (that is how I got into the business, and knowing what I know now; they are lucky I haven’t hurt them.lol) but, you should not have to pay to submit.
I think that what you are really saying is “How do I protect myself, and make sure that what I am sending out to Libraries/Catalogs/Industry does not get plagiarized; or used without my permission”. This is where the research really comes in, and why MLR is such a wealth. The critiques, and reviews about the libraries have been pretty spot on!
I will give you a quick hint. Since you are just getting into the business; go towards Mid-Level Libraries. Get some placements under your belt, and then start putting together “CD’s” for exclusive/top tier libraries. This business has a LOT to do with your track record, and if they can build a story around you. That’s where I was referring to “The Stripes”. Unless you get a mentor, a consultant, or a Shark. You are gonna have to earn them by building a track record. What ever you do, don’t go with the shark!
Hello there my friend. I went and took a listen. I would say that “if you have grown from a composition stand-point, and have a better feel for what you want musically and sonically. Look at those pieces as lessons learned, and move forward”. More, and more people are coming to this side of the business; so it is extremely important to have the best possible music and productions out there to get the placement. “Repurposing might not be your answer. Keep moving forward, and go for a sound that really represents you”.
Also, be careful about following trends too closely. It will put you right in the center of the pack; when you really need to stand out.
Hello to All! I am not here to start arguments, nor be accusatory. But, here is the real. “There is no Blue-print to this, and each road is individual”. Some Libraries that work for others are not looking for what I do; and vice versa. I work towards being very helpful with people, because I wish everyone to be successful. If you took it as something to be “Ticked” about; that is up to you.
God Bless.
Also, my goal this year was to get into three new/additional “exclusive libraries”. By just doing research here on MLR; not only did i get accepted into three libraries. I was able to find libraries that are specifically looking for what I do.
Good morning to all. Kandr21400, you are going to need to do a LOT of research, and studying to formulate a plan/strategy on how best to structure your business. The key word is “research”. I can’t speak for all, but trial and error/success is how a lot of us got to what ever position we are at, and each has a completely individual method/story. In other words.. “You’re gonna have to earn your stripes, and make your own relationships”. This forum has a WEALTH of knowledge, but it is all about taking the time to read, internet research, and see what will work best for you.
As well, Art Munson is very humble from what I am seeing; and so I will tell you. He has a E-book that is available that answers a TON of these questions.
Be well, and I wish you MUCHO success!!
Good morning everyone! This is a really good topic for discussion, and comparing our findings!! Coming from the Record/CD side of the business, I too was in the mindset that “Louder is Better”. As well, I have found some things that I would like to share in the hopes of “helping others get a ton more placements and/or re-affirming something that someone was feeling about how the process gets the better result”.
1) Several versions of the same track, with some of the versions broken down to the most minimal of parts.
2) Know what you want to do with “the Cue”. Do you want it in the forefront, background, trailer, SFX, etc.
3) If you want to mainly focus on TV/Film backgrounds, “know how to write cues that stay out of the way!” Cues that “invade the Vocal/Narration space” will not get the placement.
4) Sparkly, or edgy Lead music parts invade the Vocal/Narration space. Have alternate mixes ready to go
5) Master to sound “polished, but not too aggressive”. I hear a lot from EDM Composers that they are getting far less placements. Keep in mind you are not in the clubs..
Just throwing in a couple of cents, and hope it helps.
To be honest, it really depends on “If you really need the bread, and/or the conditions for the “commissioned works””. I would say make sure you know what you are getting into, and if there is a back-end/residuals or any other payments that will happen for this work.