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Seems like they would be shooting themselves in the foot with this requirement and is the reason I’ve never tried them . And I’ve tried a lot of others trust me.
Wall-e, do the homework on the exclusive library in question. If uou are saying you already have the 12 tracks, and that is all you have, you may want to go with the exclusive – 12 tracks is barely a ripple in a huge royalty free library. Also research the difference between what folks here refer to as royalty free vs nonexclusive vs exclusive. No easy answer. Don’t want to ruffle feathers, but when people talk about non-exclusive, they refer to libraries that are looking at predominantly seeking out tv and film placements, which is not where audiosparx and pond 5 primarily focus. Those are more what they refer to as royalty fee, and focus on other uses – internet, ads, corporate uses, etc. Not quite as likely to earn you royalties down the road. Exclusives and nonexclusives, tv and film placements are the primary focus. Sorta kinda controversial, but you can have music in royalty free libraries and non exclusive libraries. Non exclusive vs exclusive is a debate but you will find a lot of guys here diversify and put music in those and in royalty free. Read the reviews here on the exclusive library in question.
Recording Revolution, Pure Mix Free (and paid) vids especially full mix ones, and Denis Woods suggested Michael White, his is a subscription site but he has a lot of freebies on youtube. Between those and Mike Senior Mixing secrets and Bobby Owsinski, kept me busy for years and I still return to ’em.
Is there anyone here who go direct and also submit to libraries and having success with that mix? And how would you research this, aside from watching shows and hoping to catch the name of the supervisor?
That they are a proven library on here and have been around for about 5 years or otherwise have high marks from members. Personally I have had better results with fewer tracks with hand picked exclusives then I have with NE with several tracks. I’m still pretty early in at this though, submitting to libraries on my own for about 3 1/2 years now.
That’s been my assumption. However RF sales have slowed down dramatically for me since July. The three you mention were libraries I’ve seen given kudos time and again, and AS and P5 have (had?) been pretty consistent for me. Now that I am settling in with what seem to be consistent with others results- that about 1/4 of my sales come from RF and the rest from other libraries i.e. placements, I am making more of a concerted effort of working towards building my track counts more in the exclusive libraries that are doing well, so, royalty free gets a concerted effort from me about 1/4 of the time these days.
FWIW I tried limited other rf libraries, none have paid diddly. One recently closed. I’m not chomping at the bit to join a boatload of RF libraries. If others pipe in that there are several others that do well, I may rethink it. Otherwise I’d rather write for a handful-ish.
Also for what it’s worth I think AS is onto something to write in genres that would also work well in streaming and/ or external distribution. It seems to me lately that as one of those areas fall off the other pick up.
I have the same questions about NE libraries. I’m wondering what folks results have been just sending stuff out to NE’s; seems my best results have come from formerly NE – gone – exclusive libraries. If I do try to join other libraries the end of the year is typically when I like to do that. Anyone still consistently adding on NE libraries and getting good results from having done so?
Last year was small as it was my first year getting royalties. Much better this year. No other quarter touches July though.
No I wouldn’t advocate pulling out of royalty free libraries. Nor would I join a library that told me I couldn’t contribute to RF libraries, because I have been working very hard to build my catalog in those. I just wouldn’t do one at the exclusion of the other. But again this is based on Pro income from just this past year.
Yes please tell (in response to Art’s request to see hard data on these $5000 – $20000 a month royalty free earners). Because if my reality was even in the parking lot of the ball bark of those figures, I would also go completely royalty free.
Ok, maybe some clarification is needed here. Because I’m at the point this year where my music in exclusive libraries is now killiing the music I have in royalty free libraries in earnings, for the first time this year, although it started posing an equal challenge to royalty free libraries last year.
I understand that sync fees and upfront money are not where they were some short years ago, but help me understand, since many say that exclusives are out-earning royalty free libraries for many composers 4:1, why I would stop putting my tracks in exclusive libraries to focus on royalty free. As a protest, or because it makes sense? Not questioning, just not understanding. As a disclaimer I’ve been doing this over 4 years now, so I am still trying to figure out which way to go.
Why royalty free instead of good exclusives?I got
that alsoA lot of us came up reading Mike Senior’s Mixing Secrets for the Small Studio (?someting like that anyway) and I think he lists several. Then I either plug it into Youtube or Spotify and listen through my monitors.
…or even chord ring outs between sections that allow you to drop in a dead stop , in addition to or in place of stops and starts. I I swear sometimes keeping tempos in multiples of 30 helps.