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OK kind of in the same league is this scenario. You work with a library that only accepts exclusive tracks. So you submit and wait to hear back 1-2-3 weeks or more..o Do you A): Write and respectfully remind them the track has been sitting there for a month or more with no action b.) Quietly just pull the track “off the shelf” or C:). Suck it up and wait, and for how long.
But (at least this would be the hope) the quality expectation is kind of ramped up, so if a library thinks enough of your track to represent it exclusively, it’s sort of an ethical/business understanding that there is more at stake and they should really be working for you to sell/place the track. If you really (REALLY) trust the library or see enough positive posts here to take a chance, it seems pretty standard to “try out” an exclusive library by sending them 10-12 tracks or so to see how they do with your music.
For the time I have been doing this my hours have been flexible and I do most of my writing in the morning when my head is clear. I make it a point to leave work at work. I’ve always made it a point to have a balanced life (meaning a life where i can work and have ample time to work on music) and have made it a priority for over 30 years now, since I started working. Not having kids probably helps. My dogs and my music are kind of like child-substitutes.
Same questions here, Cabal good topic.
Define being unresponsive. Not responding within three days? 2 weeks or a month? Or not at all?
Oh no….no no…….
Probably a good idea to be familiar with Drop Box and Wetransfer regardless whether or not you collaborate, some libraries require you to submit music through them.
I really don’t like the analogy of the stock market when it comes to music, but is similar in that many folks here diversify – even a lot of the folks who do well with tv and film placements still have quite a bit of music the royalty free, as well as non exclusive and exclusive libraries. NE has done the least well for me, but I haven’t been in the game that long – a few years really. One of the better performing libraries that used to be non exclusive is a favorite among many, but is exclusive now, a trend that many former NE followed.My opinion, and my opinion only, but if other folks want to chime in feel free, but with one exception I am wanting to focus more on exclusive and RF. Just cleaner that way. And write more to briefs or to specific needs for the exclusive ones.
They don’t really differentiate them that way here – more the divide is between royalty free libraries, which provide music for all around general purposes – web, radio, sis’s wedding, corporate videos such as presentation, and some provide the streaming background music you here in retail stores, spas, etc. The other players are non exclusive libraries , who aim primarily for the film and tv market. They let you sell your same music to someone else or perhaps release your own album for sale, and exclusive libraries. Once you sell it to them it is theirs and theirs alone, say bye bye to your track and hope for the best. Other libraries (thi s end I’m not familiar with at all) work with trailer music, which I think deals with just film music, for , er trailers? There are variations in there but for the most part that is it.
Probably has to be the Toyota commercial I got on and I am still not sure which track, Was last July I was notified, got a $240 upfront payout, and I am assuming it was an exclusive track. If it wasn’t, it was probably a track called Blue Streak which is among my most sold tracks in various versions to date. Might add it was a tailgate party (?) ad which implies it was possibly one of my more redneck tracks since this library only has about 12 tracks or so of mine.
There are a bunch of great tutorials on you tube: Pensados place, Pure Mix (paid or free), Recording Revolution. I just asked a similar question, Denis Woods had suggested Michael White’s site as a paid site , costs 30 bucks a month, maybe do their power series. About as thorough a paid tutorial as you are going to find I think.I also went with a couple “full mix” vids from Pure Mix, one was a Ben Lindell Mix called Howling, another a Fab Dupont mix “Periscope”. I can tell you I spent about a month on Michael White MPG Power Compression and am thrilled with how much more understanding I have of it now. Regarding the tracks and composition wise, maybe be some better folks to ask, but as long as you keep a stripped down version with either no or a not too busy melody think it’s all good, and I actually really like the styles you went for.
Or maybe Yamaha will buy it up like Apple (Logic) did with the Alchemy synth.
You can, but you run the risk of it being stolen , and used or posted for god knows what. I have some up there. Some libraries want you to post songs elsewhere rather then send directly to them, so soundcloud is an option for some of use who don’t see the point in having our own website. A lot of is don’t worry about it being lifted from there and a lot of pros have stuff posted there.
Put in a composer name or tv show in a streaming service. Spotify has whole seasons of Breaking Bad, House of Cards. Put in a search engine music from (inser tv show name here). Find the composers and follow their stuff. Or go to high end libraries like APM or Killer Tracks ( or where ever maybe try a library you are trying ro get into) and put in underscore,guitar tension,or a mood – happy,sad,etc.