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I agree and haven’t submitted music there for awhile. I submit whebn sakes are coming in and I haven’t seen any froo Pond 5 in some time.
On that note is anyone seeing a delay in payment from ASCAP? The 9th and still no money deposited in my account, if I receive no payment this will he the first time in awhile I recieied nothing for a quarter. . O the other hand I’ve been out of it for about a year or so.
These days i do what i do well and try not to spend more then 4 – 6 hours. If I can’t get a solid idea moving after an hour or to I”m out.
Maybe a way of simplifying things: If a way website you go to isn’t touting the TV shows they work with, chances are is that they may be royalty free. Correct me if I am wrong, as far as selling your music, Pond 5 seems to be the most consistent in selling your tracks. Audiosparx doesn’t seem to be so much anymore, but are always consistent on streaming revenues. if there are other consistent royalty free libraries out there, I haven’t found them after 6 years of looking. For the libraries I’m in, MIBE has been consistently consistent, running 2nd would be Epitome . But really those are the only ones I’ve contributed to for awhile Because Epitome only accepts music in response to their briefs anymore, and the briefs that I feel are in my wheelhouse are getting fewer and further between, I am seeking out at least one more exclusive, and a couple more non exclusives. And sorry, but for the stuff I do and who I am as a musician, excluding the stuff that I have collaborated on with KUBED, my best performing seem to be the genres and instrumentation i naturally do best with – guitar focused rock, americana tinged (i.e. blues , country), guitar driven pop , southern rock.
A track is supposed to enhance the mood of a scene. There is no sisutation I could think of ariting for 6 years, when it’s commonly accepted that button and hard endigs are the way to go, where the use of a fadeout instead would add anything of value. It also makes your edits kind of iffy (well the sting is supposed to be 5 secinds but there is a 3 second fadeout, now what?).
And what I am saying about “what are we missing” I am referring to how, at least as far as threads here are concerned, about composing allowing subscription models that reportedly are way cutting into their botton m line. Someone somewhere is allowing this to continue to happen and are still submitting….you know the joke about what the definition of insanity is?
In the world of performing, if there are 100 bars that were all about playing for door money, most bands would quit or otherwise go out of business before too long. But by allowing themselves to play for door, they kind of created that themselves. When is the last time we did an earnings survey here?
I’m not totally knocking the business. And my earnings are actually scraping the bottom end of where I would hoped they would be after 6 years in. And I appreciate the guys who are being transparent about who they are with , but not 100% surprised that the answers are kind of the same as the way 5 years ago. At least I know I was right about who to submit to 🙂
What about some of us who lie to have food to eat while we are writing those hundred tracks a year and waiting for them to turn over? And yes for the most part what I write is oversaturated….my point was I think there are more then a few of us who aren’t bringing in a lot of bacon doing this. Mine is growing respectably, at least as , but for the most part is bringing home the potato chips and occasional steak. I’ve seen the surveys on here and know what a lot of people here are making. Most are part time. I earn more playing in cover bands which incidentally I’ve done as long as I’ve been writing , just over 6 years now. I write about 26 – 40 tracks a year. I think I agree . Would love to hear some of your music, even if you want to send along a private link and I promise not to “out ” you 🙂 .
Call me an optimist, but I just don’t see musicians seeing this as being worth their while doing if it continues the way it is going. You find a way to make it worth your time or you stop doing it. I wouldn’t put in 12 hours a week of mu time and effort trying to build a teaching business if after a number of years it wasn’t worth the effort you were putting in. But at the time , creative people create it’s what we do. So what are some alternative outlets? Gigging and promoting your own original music? Excuse me for asking, but are we missing as business people/ entrepreneurs here?
I’ll just say that the libraries In see mentioned here are the same ones basically that have been mentioned on these for forums, when people were willing to share, for like the last 5 years (as long as I have been a member). It is rare or nonexistent to here someone mention high end libraries here insomuch as placing their music. I hear a lot of mention of higher end libraries.I would suggest doing some research on the PMA awards and looking up some of the tracks and the award winning tracks/libraries there. I can’t remember how to do look it up exactly but very eye opening experience. I suspect also , you can do well in niches., that aren’t oversaturated.
FWIW , don’t estimate getting new libraries when they open IF it looks like they already have some history in the industry. Maybe a helpful feature here, and I may be totally up the wrong tree, but maybe other folks can comment, to track the movers and shakers in the industry as they change jobs, open new libraries. Because from what i think I am reading, it is as much about relationships as it is about the quality of your music.
I think there are many sides to this question and reasons people don’t like to give out the info. 1:) They don’t want to jeopardize their relationship with a library by sending someone they don’t know whose music may or may not be terrible to them. 2:) They are protective of their info have done their research and are basically saying we did the footwork ourselves, so you should have to to 3: ) The may be worried your music is actually better then theres and they are protecting their own self interest 4: ) No one has found that one be all end all nonexclusive, and spraying your music to the winds after doing the research is your best bet.s
There is this scarcity mentality here among everyone that helping each other out is going to interfere with their bottom line. That said, all the nonexclusive i joined went exclusive. My two top performers have been MIBE and Epitome and are where i’ve focused my energy. The best performer used to be Jingle Punks for folks here that are in with them. I have never been with them and don’t know how they do anymore. As fas as Royalty Free it seems like the only ones that do much of anything are Pond 5 and Audiosparx. But that is through my lens, having done this research and that is where it has led me.
I couldn’t say for sure about true non exclusives. Some people have mentioned consistent results with the Cueniverse. That said, as others have indicated, your mileage may vary.
I think the days of the gold rush mentality here is yesterday’s news, really, in my opinion . You can make money in this and do kind of OK but if you are talking about creating a music career, diversify. Teach. Perform. Write library tracks. Write songs and develop yourself as an artist. Look at this as one piece of your musical career. Make it the whole pie if you want to , but don’t quit your day job, and yes I can honestly say this with a lot of certainty not having even heard your music.
Thank you, larger then usual which was a nice surprise. I always thought it was the 6th though, just like domestic. Mine was deposited either today, or yesterday…
Have ASCAP international royalties been paid out yet? Perhaps I didn’t get any this quarter?
How do you get a spotify for artists account?