[BrianDWatson]

Wow, 3 years? Crazy!

[BrianDWatson]

“I just feel as though composers, who put so much effort into their craft, are sometimes taken advantage of.”

It’s good to be aware of this, it happens all too often!

Typically, if I think something is unfair I don’t engage with it. RF sites can be a controversial beast for sure. I haven’t really delved into them yet, not sure I ever will.

I can’t speak for other composers here, but the general feeling I get is that most people post tracks on RF sites after they’ve already used them in other areas, like through a regular music library. So any income generated from those sites is seen as bonus money. They would’ve written those cues regardless, and made money (hopefully) through other avenues. Some people seem to make more money from RF sites, but it seems to be the exception rather than the rule.

I’m not sure anybody knows what the hell goes on under the hood at Pond5, AS, etc. And I doubt they are identical.

[BrianDWatson]

I didn’t realize you just mean RF sites. I don’t do a lot of RF stuff, but from what I understand you can set your own price most the time, where as when you hand it over to a “high end” music library that’s not the case.

Additionally, the 50/50 is just industry standard, not sure what can be done about it besides a large movement of composers refusing to do business with them, but good luck with that. I suppose another reason they may feel like that split is fair is because of the demand some sites garner, like a Pond5.

Also Etsy and Ebay don’t feel like similar enough sites to make a comparison, since you can license a song unlimited times where as I can only sell my one of a kind KISS doll once.

[BrianDWatson]

I agree with Michael. Besides the overhead, they also do all the legwork of pitching and have connections most of us don’t.

[BrianDWatson]

That’s what I said! Doesn’t seem legal.

[BrianDWatson]

Paolo, thanks for the FYI! I had a friend who had a song that was the same title as a Kelly Clarkson song and he got a 4k check from Spotify (becuase people accientally played his song) but then had to pay it back!

Michael, I’m not sure, I haven’t put that song in any RF Libraries.

I mostly want to find out since it’s a network show and would like to send that library more cues 🙂

-Brian

[BrianDWatson]

Cool thank you, I totally forgot about looking stuff up on the ACE search! Still doesn’t ring a bell. I guess the strangest thing is that every cue on that show is from them except mine! Oh well. Hopefully it pays out okay, ha!

Brian

[BrianDWatson]

Kevin, I’m sure you’ve gotten an answer since August, but just in case, you get all the libraries (however you only get the GOLD version of HS and the Brass, though you can also upgrade to get the Diamond version)

[BrianDWatson]

I just got this and was wondering what libraries people find the most useful? I downloaded Hollywood Strings and so far not super impressed, but I’m sure I just need to learn how to use it. There seems to be a dearth of online tutorial videos for getting under the hood. It’s mostly just demos of people playing amazing stuff but not explaining how the fudge they did it!

thanks!
Brian

[BrianDWatson]

Minimum 2 weeks, I usually wait a month.

[BrianDWatson]

I’m with Art here. Not only have I made more money with N/E, but I’ve had plenty of cues collecting dust in exclusive libraries, that I could otherwise be making money with else where. This is a common occurrence sadly with others as well.

Also, if you’ve poked around here, you’ll notice that a theme that gets repeated is that there’s no one formula for success in this business. There are so many variables it’s impossible to say what can or can’t make you money. It’s A LOT of trial and error unfortunately.

FWIW, in my experience it comes down to fostering a relationship with a library(s), whether or not they are exclusive is arbitrary. If you can get in good with a library who can place your music consistently, and who sends you briefs for more material, then that is, at least in my limited experience, gold.

edit: oh and in regards to submission taking a long time, I’m with dCsoulplusmind. Another way to cut down on time is to keep an updated metadata spreadsheet so you can easily copy and paste if a library requires you to do your own (an increasingly more common situation unfortunately)

[BrianDWatson]

I suppose it depends on what you want to do. Are you just wanting to make supplemental income or are you hoping to make a living off of this? Are you focusing mostly on scoring indie films, or are you down to write reality TV cues?

As far as other avenues, I would just continue submitting to libraries you think might be a good fit and hopefully build relationships with them.

[BrianDWatson]

Not sure how BMI works, but with ASCAP you can sort by episodes rather than shows and see how many total episodes you’ve been on. This is helpful once you’ve been on more than a few shows and can keep a mental note of the total each quarter. I’ve been trying to see if I can predict my payments (which is probably totally impossible but fun anyway)

[BrianDWatson]

I believe it’s Music Licensing of Hollywood. I gave them a few tracks a number of years ago. They only posted like 6 tracks on AS. My name is still associated with them somehow since they came up when I searched my name, so I assume that means I still get writer’s share haha. No biggie, just thought it was a little strange.

[BrianDWatson]

Chuck, thanks for the recommendations, the recording revolution videos are excellent, learning a lot of stuff! Very concise and informative!

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