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Does anyone have any experiences that might be helpful?
Sounds like MLR is good for A&R!!
just a quick FYI. Just about ALL of The Majors have a ‘Submissions Email” on their websites.
Good Luck!
NOT attacking anyone’s stance. I just had to wonder out loud why my experience is so opposite of what I am reading here.
Not opposite. Some are just looking, and observing while things “go thru their cycle”..
To give you an idea…
We have some really talented people here on this Forum. (Not sure if they want anyone to shout them out. So, you have to watch as they chime in, and make themselves known) As well, there is a lot of really good advice that gets given here. I would really watch the threads, postings carefully, and “Recent Library Comments”. They will give you up to date info.
Without knowing what you sound like. All I can say is Welcome aboard, and watch the threads, posts, and recent Library Comments…
Can someone discuss what happens with income when a composer submits to a subscription site?
Cutting to The meat here, and understanding that we have really NEVER been paid fairly. NOW, we have people/companies that are “thinking primarily about getting rich quick, corporate schemes; and grabbing the money and run”. These People/Companies have de-valued our industry to where it is “almost” impossible to make a living. So, by submitting music to these subscription services, thinking “it’s a way to get into the business, and we’ll make the adjustments/figure it out after we’re in. YOU are feeding into this “desperate business model”.
I equate this to “Clear Cutting The Great Redwoods in California. What difference does it make how much damage we are doing. We’ll be long gone by the time it really affects anybody”.
On a good note though. Now, that “composers/writers” are seeing how MUCH work it actually entails. We (hopefully) should be weeding out a lot of them in the next couple of years..
The problem is in playing full chords. Chorded backing tracks of ,lets say piano, will never sound as full when played with a guitar controller than they would when played with a keyboard.
I don’t think I’ve ever met a Guitar Player that could not at least block out chords on a Keyboard.
How many libraries would composers on here recommend to be on?
I’ve seen a few people online who say 2 or 3 at the most?Really depends on your output of music “Annually”, and how much music normally is required from those Libraries/Catalogs you’re in.
I stopped taking on more Libraries at around 20 Exclusives.
I would EASILY make room for “Extreme Music” though!!
**Foot Note**
You will be able to gauge how many Libraries to be in by how much action/placements your music is getting. Just because it is an Exclusive doesn’t mean it is “a popular library, or even popular for your music, or style of music”. Some you will feed once, twice, and some you will “Replenish Frequently”.I just got my first pro set up today. My publisher said they register the tracks. Does this mean I don’t have to add anything ?Tracks etc? to my pro account.
I used to think, “WOW, that’s so nice of them”. Now I know the truth.They are doing the “registration” of the songs/cues, but it really covers them. They do this to make sure that they are in control of the copyright, and making sure they lock these tracks into perpetuity.
Yes, they are going to take care of all of the registering. So, there is nothing you will need to do.
The other day someone said, “Just ‘write hits’ and you will make a lot of money in production music.”
I’m checking back through my posts to see if I said that.
If I did, I need My Head examined!!
You can not treat a student film maker or mom and pop youtube channel the same way you treat medium sized and large size ad agencies, TV networks, and post houses in major markets.
I completely agree!!
If we can get a “2 Tier system” in place.
1) Professional Usage (which also means that a consumer product that goes over a certain threshold/amount will automatically become tiered as Professional)
2) Consumer UsageIt will not only give us opportunities to earn a fair wage. I believe it will also start weeding out The Sharks, and Money-grubbing Venture Capitalist.
Maybe it’s just Me. BUT, I see ALL of this as an easy fix.
There needs to be in place a “clear” distinction between “Consumer, and Professional Usages”, with specific rules and regulations in place.
I am tired of companies “deciding wether or not they will submit accurate cue sheets”, and I am tired of “low-balling by/for Professional Applications that have decent/great budgets in place”.
and yes i have learned a lot from you from my previous threads and am grateful
Thank You for that! We learn a Lot from each other!
I have asked about avarage sync fees, with no real reply apart from it varies. which is right maybe he does not want to say in case nothing ever comes through.
I can tell you first-hand.
“Promos for Major Networks, that appear on Major Networks? Pay WAY Differently!!”The library which can not be mention on the post, has one of the higher user ratings on this site.
If you are in “Constant Contact”, simply ask.. “Hey Man/Woman, how much do You think I stand to make”.
Anything is possible. I literally trade recipe’s with One of The Biggest Execs at UMG..
Does anyone know much about a composer’s music being placed on promo’s for tv like ABC etc is it a good side to be on? What sort of sync fees are we talking, backend if any.
The reason I’m asking is because ABC promo’s is the libraries main focus.
Any insight would be great.
Thanks.I guess I’m an “Old Pro at this” so I’m not worried about asking questions.
Did you simply ask what this entails, and did you do your “research” on the company/library to see what they are currently doing/Relevance? As well, how they are fairing in the market-place?